Kay

November 22, 2008

改編自瑞典小說家John Ajvide Lindqvist所撰寫的暢銷小說《血色入侵》，導演Thomas Alfredson卻是以如同Robert Forst詩作，肅穆平靜、嚴峻寒冬的田園景致去描繪一場屠殺、死亡以與肢解。這絕非是第一部以超自然、血液橫流的手法去浸漬青少年惶惑以及性欲初萌的電影。(例如De Palma 的魔女嘉麗，以及Romeo的Martin，與更晚近的John Fawcett的Ginger Snap皆各自將青春期的騷亂與心靈傳動(telekinesis)，吸血鬼、狼人變身等劃上等號)，但是Alfersibn以令人難忘的且可信的(stringent)的視覺設計讓這部電影與眾不同。

      
從電影初始，螢幕上便充滿著寧靜，翩然降落的雪花，像是喬哀思【The Dead】尾聲餘留的水花，如此可愛卻詭譎的片刻達到了檯面下的驚悚高潮，畫面既田園牧歌卻又寧靜無聲。《血色入侵》意欲將當代的吸血鬼影片推至到饒負詩意的領域。

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July 8, 2008

Part of Bourgeois identification, then, was a negative one. The very financial and emotional insecurity of the nouvelles couches worked to underscore the image of a single recognizable bourgeois self-image. It was precisely because most of them clustered around the lower edges of the pyramid that they were all the more intent on upholding middle- class morality and middle-class styles of living, even though their showy alliance with more prosperous bourgeois was often subverted by sharp conflicts of interest. They could be more ostentatiously respectable than their betters, more severe with their family about table manners, just as calculating and manipulative to keep their children from marring inappropriate suitors. Shabby gentility was a harsh taskmaster.

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July 4, 2008

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July 1, 2008

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June 28, 2008

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