午后的迷惘的剧情介绍,长日悠悠、穷极无聊的午后,光影慵懒、枝树婆娑,没来由的花,没来由的出现,女人又一次没由来的尾随,在转角出削翳的神秘人影。午后的长眠,假释了潜意识所有的梦魇,飞悬在空中的女人,瞥见躺在椅上、沉睡中的自己。由女人口中吐出了钥匙,钥匙又变成利刃,... <br /> 二十世纪最有影响力的实验电影之一。由Deren 本人和丈夫 Alexander Hammid出演剧中所有角色。这部女性主义的经典描述了一个女性的白日梦,在梦中日常生活物品都变得神秘而危险,电影转向对性与死的晦涩思考。
A solitary flower on a long driveway, a key falling, a door unlocked, a knife in a loaf of bread, a phone off the hook: discordant images a woman sees as she comes home. She naps and, perhaps, dreams. She sees a hooded figure going down the driveway. The knife is on the stair, then in her bed. The hooded figure puts the flower on her bed then disappears. The woman sees it all happen again. Downstairs, she naps, this time in a chair. She awakes to see a man going upstairs with the flower. He puts it on the bed. The knife is handy. Can these dream-like sequences end happily? A mirror breaks, the man enters the house again. Will he find her?
女性之殇:以《午后的迷惘》为镜。超现实的思索,午后的迷惘--佛洛依德式角度下解析下女性梦境。这只是一个混乱的梦。一个迷惘的女人。日常生活中的心理病态。切割自我。惊艳。醒不来。压力显而易见。自织罗网。
Maya Deren - Meshes of the Afternoon (1943).avi
8.7;女性臆想导向的心理暗示
梦。
或许是电影最接近其造梦机器之名的一次表演,黛伦对影像的控制几近完美。明知源于自己头脑的场景却并不由自己所掌握的体验,梦境如是,电影亦然,而在完全无声的状态下只更惟妙惟肖。
Freud's dream: flower, knife, mirror, ring, insanity, key and door, man and woman, sex and death...
先锋派的祖母