| “Time” is an obvious science that researchers in many fields have been fascinated by from the 20 th century to the present.In the field of film,there is not only the film poet Tarkovsky,who explores “time” in practice,but also the philosopher Deleuze,who discusses “time” theoretically.Looking at the Chinese film industry,Bi Gan is a “time”lover.Bi Gan’s film creation on the relationship between image ontology and “time” and“memory” not only inherits Tarkovsky’s exploration spirit of “time”,but also fits Deleuze’s ontological thinking on “time-image”.“Time-image” is the focus of Deleuze’s exposition of image theory,and “time” is also the key word for understanding Bi Gan’s films.The fixed footage of “everyday” events in Bi Gan’s film removes the surface movement of the image,bringing with it the profound life experience and emotional memory of nostalgia.At the same time,the “still life” framed into a fixed lens in Bi Gan’s film completes the writing of “pure sound and light images”together with the “silent force” of nostalgia.In addition to the visual expression of the concept of “temps mort”,Bi Gan’s film also forms a direct form of expression of life time through the “cruising” and “roaming” of the characters’ bodies and spirits.The overlap of life time is externalized as “crystal-image” in Bi Gan’s film,which together with “pure sound and light image” and “recollection-image” completes the philosophical thinking of the image ontology and the two themes of “time” and “memory”.This is all the manifestation of “time-image” in Bi Gan’s films,but this does not mean that there is no longer “movement-image” in Bi Gan’s films.The panning shots in Bi Gan’s films,while constructing what Deleuze calls “semi-subjective images”,tend to the “free indirect subjectivity” proposed by Pasolini,that is,poetic based on the division of the subjective speech they compose.The “video poetry” of Bi Gan’s film is embodied in two levels: form and content.The first is the poetic language evident in Bi Gan’s films—long shots.On the one hand,the long shots that bring “realism” and the “specific space” element that constitutes“realism” in the film interact with each other to make the space in Bi Gan’s film show its true beauty.On the other hand,Bi Gan’s practice of floating space on the inner structure of time breaks the continuous and complete time and space that the long shot wants to express.At the same time,the “any-space-whatever space” and objects that break the distinction between reality and fiction make the space in Bi Gan’s films present an illusory beauty.At a deeper formal level,Bi Gan completes the rewriting of time,spatial order and the shaping of “forgers” through completely fragmented and polysemy images in “fictional narratives”.At the same time,the flow of emotions that connects the fragmented and ambiguous images in the “fictional narrative” into a whole overflows inexorably in Bi Gan’s films.These polysemy and flow that embrace the “living image” are the poetry of Bi Gan’s films,and they are unified in the content expression of religious ideas in Bi Gan’s films,that is,the “looping” time structure and the spiritual experience of characters in Bi Gan’s films.Although Bi Gan practices the exploration of the spiritual dilemma of human beings in the film,his “utopian” fantasy of resorting to religious salvation cannot achieve true spiritual freedom and liberation. |
