Cut a night view and left bank coffee

French director Aaron Raynay was born in 1922 in the French town of Vannes. Alan Lei is a representative figure in left-bank films, whose early works on memory and trauma include Night and Fog (1955), the Love of Hiroshima (1959) and last year in Mariamba (1961). The film master died on March 1, 2014 at the age of 91.

I've never seen Renai before. So up to now, he has been a beating light to me. Roughly speaking, I have seen "Love in Hiroshima", "Destiny", "Muriel", "my American Uncle", "everyone sings that song" and so on. Most of them were seen in the 1980s.

When I was a student in France in the late 1980s, both the photography teacher and the editing teacher were Renai's people. The photography teacher was CharlieVan Damme, who was very passionate because he was in love with a senior sister. He focused on several works he worked with Renai at that time, such as the 1986 melodrama. I remember the key points of the lecture, such as the influence of background light as the main light source on characters, the simplification of local supplementary light of characters, the setting of only one light, whether dark clothes need light emphasis, whether the differences between actors' faces require different lighting, and so on.

The name of the editing teacher, I forgot (Alzheimer's?). He saw that we were always cutting our own short films, and he was not satisfied. He made a request to the school and asked Renai for advice. He copied a scene by Renai and asked each of us to cut a version of ourselves. At that time, the film had not yet been released, so we could not refer to the "Standard answer". At that time, it was usually cut by 16mm, this time it was 35mm. I remember cutting a night scene with four people talking to each other. The scene was built in the studio. The leading actor is Pierre Arditi and the heroine is Sabine Azema. There are three directions for shooting, generally respecting an axis, there is no American film-style gradual focus or attempt action construction, leading the dialogue, but there is also a lot of blank space, and the state of the actors is very different from normal before and after shouting "start" and "stop". The students were generally constructed according to the possibility of "flirting", or tried to use emotional propulsion as the editing direction, and only one tried to cut the whole conversation into "philosophy". The effect was amazing and the funniest. I found a Sabine smile that was very relaxed after the director stopped, and that smile seemed to have nothing to do with the whole scene. I generally followed the "flirting" route of most of my classmates, and finally gave the heroine a seemingly irrelevant extended smile, with a simultaneous sound, as the end of the scene. The teacher criticized me, saying that we should not establish a special emotional relationship between the editor and a performer.

When it comes to emotional relationships, my favorite work is "Muriel", especially the scenes in the family vestibule, but it is a long time ago, and my memory is not accurate, so I will make up lessons tomorrow. Over the past two years, due to the influence of teaching and film selection at various film festivals, I have become more and more interested in short films and re-watched a lot of them, including Renai's Night and Fog, all the memories of the World, and so on. This part of the impression, let's write other articles.

Finally, there is the placement of petty-bourgeois tourism advertisements: on the so-called left bank, the senior intellectual district is in the lower reaches of the university area, about the streets perpendicular to the Seine opposite the middle section of St. Germain Street, mainly the six districts. To the seventh district is the more capitalist boundary, and the university is mainly in the fifth district. Several cafes extending south from District 6 to District 14 are places for intellectuals on the left bank to write.

Now the cafes in the core areas of the six districts marked in the travel brochure are actually places where they come out to meet people after writing. I was personally invited to meet there several times, with veteran comrades born in the 1930s or even before, such as the editor of Modern Literature, who lived with Beaufort, the veteran communist soldier who lived in Beijing for 15 years in the 1960s and 1970s (the only pleasure for this French old man now is to read Yan Huang Chunqiu), the person who began to make experimental films in the 1920s, and the core staff of situationism. That is indeed their boundary. In these cafes, if the petty bourgeoisie really travel, they should be polite to the local elderly.

If you want to know the cafe where they wrote 60 years ago, you can survive on your own. People like me who are suspected of Alzheimer's know so much. And there is no need to be romantic, most of them write at home.