Film history week8

结合Sarah的书籍Ardor and Anxiety: The history of Conephilia和爱泼斯坦关于photogénie（上镜头性）的散文式学术论文。

This film starts with some imagery of the cross, like some folk traditions of religion, like some Jewish mysticism; 宗教色彩我感觉还是稍微弱一点，但是早期电影特有的仪式感、诡异的妆容与行动，富有德国表现主义的色彩。

Some quick cut, like a breaking of the space and time continuum of the classical style;

The superimposition of the lovers with the water; 水光的意象真的给人一种“惊鸿一瞥”之感，虽然饱含melodrama的俗气，但又有romantic的纯贞。人物情感通过水与自然被无限放大。

Surrealism, like a conscious dream, and poetic; 诗意的一些梦境画面，也是一些早期法国或德国电影常有的。梦境与现实的混淆。梦境对于现实的反射。

In terms of narrative construction, it was very elliptical and all of the scenes were punctuated by these images of the nature, reflects the integrity of the characters;

Asymbolic unnatural hourglass; 沙漏，钥匙孔的画面真的非常的tricky，叙事上增添很多俏皮。

represent that the photography steals your soul；多种艺术在这部电影里同时出现，皆以热闹的姿态，唯独摄影机被角色所厌弃，且摄影机的重复蒙太奇与男主的自杀衔接，呈现一种在早期电影时期，电影不被认为是“第七艺术”的境遇，just like the death of the cinema。

很有意思的一节课，Dan请了Umass的Sarah来进行讲座。不到一小时她记住了全班三十几个同学的名字。Born this way～