narration and slow cinema

 Rosenthal, A., & Eckhardt, N. (2016). Writing, directing, and producing documentary films and digital videos (Fifth ed.). Southern Illinois University Press.

 

Narration has a certain dictatorial power, leading the audience to passive thinking and participation, weakening its initiative. In movie narration, the use of the second person can make the movie more powerful. Second-person narration can interact with the audience and have a sense of dialogue, so as to better guide the audience into the world constructed by the narration.

旁白拥有一定的独裁的力量，带领观众进行被动的思考与参与，减弱其主动性。在电影旁白中，使用第二人称可以使电影拥有更加强大的力量。第二人称的旁白可以与观众产生互动，拥有对话感，从而更好地引导观众沉浸到旁白所构建的世界里。

 

Cinema is born of a burning passion to tell interesting, dynamic, interesting stories about the human condition.

电影产生于一种燃烧的激情，想要讲述一些有趣的，有活力的，关于人类状况的有趣故事。

 

 

de, L. T., & Barradas, J. N. (Eds.). (2015). Slow cinema. Edinburgh University Press.

 

 

 

Flanagan, Matthew (2008), ‘Towards an Aesthetic of Slow in Contemporary Cinema’, in 16:9 , 6:29, http://www.16-9.dk/2008-11/side11_inenglish.htm [accessed 24 February 2015].

 

In 2008, taking up Ciment’s expression, Matthew Flanagan would expand its theoretical application in his influential article ‘Towards an Aesthetic of Slow in Contemporary Cinema’ which he described as based on ‘the employment of (often extremely) long takes, de-centred and understated modes of storytelling, and a pronounced emphasis on quietude and the everyday’ (2008).

 

However, the slow narrative risks sapping the film's energy.

 

2008年，马修·弗拉纳根(Matthew Flanagan)在他颇具影响力的文章《走向当代电影中的慢美学》(Towards a Aesthetic of Slow In Contemporary Cinema)中扩展了其理论应用，他将其描述为基于“(通常是极其)长镜头的使用，去中心化和低调的叙事模式，以及对安静和日常的强调”(2008)。

 

然而，缓慢的叙事有可能会削弱电影的活力。