Jean Cocqueteaux (1889- 1963) is probably one of the most persistent poets, ranging from San de Upé e (1930) to Aufiere's Will (65438+). Gu Keduo is a gifted master of language and writing, and he is also gifted in painting and music (he is an excellent pianist). But whether in literature, painting or film creation, he refused any rules. It is natural for him to make movies, because movies are essentially a form of artistic expression, that is, a form of poetry, which can also be said to be the embodiment of the dream part of human thought.
Gukeduo's view of poetry is complex and contradictory, which includes romanticism and classicism. Poetry is something that keeps escaping from our grasp and cannot be pursued and realized by rational means. "Writing should not be mixed with style, poetry and poetic sentiment. Poetry is everywhere, not out of the poet's will. This is poetry. "
At the same time, nothing disgusted him more than the inexplicable "post-symbolism" or "pseudo-symbolism" poems. He said that "poetry is the voice of unknown people", which comes from a collective memory and is an impersonal collective composed of people with personality. Poetry is an important manifestation of another world. Just like this, art-literature, painting or film all have the same nature-thought; At the same time, poetry also comes from the artist's inner needs, is an uncontrollable part of his heart, is the soul's talk, is the expression of world poetry-poets Holdrin and Novalis have said so. However, Gukdo is very restrained from this romantic emotional catharsis, and he is highly wary of "unrestrained emotional expression". If he advocates innovation and breaks the rules, it shows that he still recognizes the power of rules. Similarly, his praise for non-professional artists is not to justify incompetence, but to advocate free innovation.
Gukeduo is a poet in the film industry, and his films are the most powerful and vivid proof. If you want to sum up his point of view in one sentence, it is: don't concentrate on capturing poetry, it will only make it escape. This view of Gukeduo has had a far-reaching impact. For example, Blethen once said in his movie notes, "Don't pursue poetry" and many similar words. We quoted him before: "I dreamed that my film was slowly finished in my eyes." After reading this sentence, it is hard for us not to think of some pictures in orpheus's Will or the Poet's Blood. Blethen also said: "My film was born in my mind and died on paper. I resurrected it with living and real objects, but I died on film. But once it is edited in a certain order and projected on the screen, it will regain its vitality and rebirth like a flower in water. "
This image also comes from Gukeduo. There is also this sentence: "Novelty is not unique or modern." (By the way, Gukdo once wrote a script for Bresson's film "Women in the Forest of Boulogne" [Dames du Bois de Boulogne, 1945], and the two directors met again after World War II).
Frankly speaking, Gukeduo's influence has both positive and negative aspects. From Tarkovsky to Godard, from Louis Calaque to Kenneth R26 Kenneth Anger, this is the knowledge of many film directors. On the one hand, Gukeduo refused to adhere to other definitions except "Poetry is indefinable", on the other hand, he tried to pursue the poetic spirit of the film, and many later directors followed suit.