I watched the film for a while, but I don't know the name.

Interpretation of the Aesthetic Implication of the Film Future Water World

Author Wang Qidong

The tragic fate of mankind

-Interpreting the aesthetic implication of the film Future Water World.

When the ending of the film "Future Water World" is slowly released in a sad music, and it is fixed in the time when the navigator paddles and sails and floats on the boundless sea, what surges in his heart is not the hearty beating after the fierce fighting in the film, but a ray of sadness. Humans are doomed to fall into a deep cycle in the search for their own destroyed paradise, waiting for the loss of their desired home with infinite sadness. It is a beautiful fantasy to go back to dream of paradise, which was destroyed by ourselves, but after examining this prophetic fantasy for a long time, we really strongly feel the smallness of human beings.

The film "Future Water Time" produced by Universal Pictures in the United States costs a lot, from the scheduled $65 million to the final $200 million. Its scale is really rare in the film. It cost nearly $4 million to build underwater reefs off the coast of Hawaii just for realistic scenes. The film assumes that centuries later, due to human's desperate plunder and extreme selfishness of nature, the ozone layer of the earth was destroyed, which led to the melting of Antarctic glaciers and the earth was covered by a piece of Wang Yang. Humans have to live on the ocean and use ships instead of land. Helen and Rhona (an abandoned baby) live alone and struggle to survive in a steel castle. In this castle, fresh water becomes a rare treasure, and food is calculated by gold. Who knew that such a life could not be sustained? A group of pirates (called smokers in the film) attacked the castle, trying to find Yi Rhona because she had a pattern tattooed on her back so that she could find dry land. It happened that tourists from Shanghai came to the castle and exchanged dry soil for clean water and tomato potted plants. Because the navigator has gills, ears and webbed toes, he is regarded as a monster by the people in the castle and wants to bury him in the mud according to the old custom. The invasion of smokers made Helen rescue Voyager and drift at sea. The pirate leader was also blinded by Voyager. Thus, a life-and-death struggle about Yi Rhona started between pirates and navigators. One is greed for land, and the other is friendship. In the contact with Yee Rhona, the navigator gradually developed the relationship between father and daughter, from wanting to throw her into the sea to saving the pirate ship with his life, and found the dream land with Vig and Helen according to the map on Yee Rhona's back. However, after arriving on land, the navigator didn't adapt to life on land, and finally left in the distant attention of his beloved Helen and little girl Qi Rhona, and went to his own floating life on the sea.

The gripping killings, magnificent scenes and superb skills of the stars in the film (such as kevin costner, costner Kevin, dennis hopper Dennis, Jenny Triphorn, Jenny, etc. ) really guaranteed the box office of the movie. However, the author believes that the main reason for the success of this film is that it not only opens up a new field that American films refer to, that is, a new possibility to predict future disasters of mankind, but also reveals the sad state that human beings are helpless in the face of great revenge from nature. In the final analysis, people, just people, will eventually return to land to survive, and it is impossible to breathe and survive in the ocean like sailors.

Therefore, the aesthetic perspective of Future Water World and the aesthetic analysis of the film will help us to further understand its deep meaning, thus reflecting the ingenuity of American movies in choosing and expressing the theme.

Although Future Water World ends with mankind finding the paradise in the past, it is still a tragic foreshadowing film in tone. What it reveals is not the despair and despair of human beings, but the struggle of human beings to change their destiny and claim their homes from nature, which is a contest between justice and evil. Therefore, taking tragedy aesthetics as the coordinate system of the future water world, we can easily discover the superiority of the film in the aesthetic implication of sadness.

The first is the unique sad intervention caused by the embarrassment of human existence in the future water world. In the film, there are fragments of Wang Yang everywhere. Sailors drift by boat, but because there is no fresh water to drink, they drink their own urine after simple mechanical treatment. After the dry soil is weighed, it is priced according to two records; The wanderer wandered around the sea for two weeks without any food to eat; There is almost no food to sell in the small castle in Arthor; Countless cities swallowed by the sea, Be buried quietly at the bottom of the sea forever ............................................................................................................................................ ......................., although the director finally gave mankind a piece of land to live in, isn't the dried ashes on the wooden bed also showing mankind the prospect of the end of a disaster? Rhona can talk and laugh in adversity, but after landing on the happy continent, she fell silent and even shed sad tears. With its mysterious identity, it shows the sadness of human life. Beautiful scenery is fleeting, how can it not make people think? The housing crisis will inevitably bring a series of survival crises. Isn't such a bad prospect what we humans are advancing rapidly with our own so-called progress? The film reveals not only the embarrassment of human survival after centuries, but also a warning to the real human survival and the progress of industrial civilization in the sun, just like a huge red light warning the speeding car dragon. Its embarrassing double survival ban can't stop every audience from leaching a cool chill from his back. There is no doubt that beauty is shrouded in wordless sensibility, and its profound connotation is realized by the aesthetic intervention of the viewer.

Secondly, it is the aesthetic feeling produced by the tragic conflict between evil and justice, good and evil. With their extraordinary courage and courage, the navigators attacked the pirates again and again and finally destroyed them, rescued Helen and Rhona, and finally let the just people get a beautiful home, and let greed and sin take their own consequences. This is a struggle between two forces, a beautiful pursuit and a kind desire to finally overcome the brilliant and tragic hymn of the opposite.

The ugliness and greed represented by Dickon are mainly the cruelty shown by his desire to rule as a pirate leader. He ruthlessly led the pirates to destroy the human castle at sea, just to snatch the little girl Rhona and then find the land full of dry soil. At the pirate conference, he screamed at the top of his lungs and declared, "March into the dream continent and watch the trees cut down." In fact, it is a continuation of the current human plundering of nature. In order to see the map on her back after catching yee Rhona, she even came up with such a vicious trick of peeling the skin behind her; When forcing the two survivors in the castle to tell the story of Yi Rhona, they broke their previous promise to exempt the first speaker from the death penalty and killed them in cold blood. This poisonous trick was also used between the navigator and Helen. He roamed the ocean with pirates, killing people and destroying cities with all kinds of vicious schemes, which made people talk about smoke without exception. They thought they could wreak havoc and safeguard their ruling order and vested interests. "Many lines of injustice will kill you", and endless greed will inevitably lead to serious, serious and sharp conflicts. In the process of the theme, the victory of the just party, represented by the navigator and Helen, made the inevitable cause and effect of "one good deserves another, and one evil deserves another" come true.

The navigator and Helen are the embodiment of justice. Sea voyagers are brave and tenacious, and have the lofty spirit and heroism of conquering evil until death. He can defeat pirates with his own wisdom and courage, regardless of their strength. He went to the pirate ship alone to rescue Qi. After Qi was hit by a balloon and fell into the water, he tied a rope and jumped off a high balloon to rescue him, showing extraordinary courage. At the same time, he is an ordinary person full of love, such as the sincere love between him and kind Helen; Teach yee Rhona the joy and enthusiasm of swimming and so on. He blew up the pirate's base camp by himself and wiped out countless pirates. With his high-spirited personality charm, we see a kind of courage that nothing can destroy and an eternal light of justice. What he conveys to readers is a sense of loftiness and heroism, a hearty, happy and spectacular aesthetic feeling. It is this sacred spirit of justice that makes the aesthetic implication extend into a broad and profound beautiful landscape at the level of personality and sentiment.

Thirdly, it is the profound philosophical rational connotation contained in the intense film surface. Destruction and reconstruction, the pursuit of loss, will always be the only way for human progress. Only after the loss, deeply feel the immeasurable pain, will we cherish the happiness and happiness of the past more, and only after we get it back, will we cherish the hard-won victory and success more, but the price paid for being destroyed and fought for by ourselves is too painful and should not be paid. The disaster caused by human endless plunder forces us to put down our egoism and return to the Garden of Eden, because human strength is limited. Like a circle, it starts from the starting point and finally returns to the original starting point. We can't break through the weakness of human nature and become the omnipotent master of everything. As Helen said, "We are human beings. We have hands and feet for walking on land, so we must live on land. " It is impossible for human beings to return to their ancestors and become animals with gills and webbed feet that can breathe in the sea like sea navigators. In the vast universe, human beings are only a tiny species, and we can only seek and maintain our own shelter on this basis, which is the doomed sorrow of human beings. The film's final return to the earth and the superposition of what human beings currently have and the expansion of the ocean and sky just reveal the deepest and simplest philosophy; Advance and retreat, retreat and advance. Pursuit and return have wonderfully become the core of human survival philosophy.

Therefore, from the film's reflection on the present situation of human existence and the prediction of the future world, we can see through the profound aesthetic connotation; The extremes of things must be reversed, and the extremes of things must be reversed.

Finally, what I want to add is the aesthetic implication of the tragic camp in the film art style. The film begins with a slow voiceover describing the terrible prospect of the future world. The attached picture shows Voyager drifting alone on the vast sea in a sailboat. The thirsty sun and noisy sea water show the sadness and helplessness of sailors. Not to mention humans who are not as good as voyagers. The following conflicts, such as several encounters between the navigator and another drifter and pirates, and the people in the castle, Helen and Ziluona, make the plot of the film ups and downs, and the images interspersed among them are images of the navigator drifting alone. The organic combination of motion and stillness, slow and urgent and intense, although the climax is repeated, makes a sad and helpless undercurrent flow from beginning to end in the undercurrent. Even in the paradise on earth-that beautiful land, the film still makes people sad, sad and lost. Sailors' boats quietly hide to dilute the pleasant sensation and the joy of getting what they want (whether the protagonist or the viewer), so that sadness and carefree emotions coexist, there is no great joy and great sorrow, and there is no boring excitement, so that the mood is tilted and the main theme of sadness and ups and downs is freely invested.

Therefore, we can find that "Future Water World" intentionally lets a kind of sadness and faint sadness cover the whole article and run through it. Firstly, it lays a basic emotional tone for the whole film from the aesthetic implication, and then interspersed with some fierce, hot, thrilling and bizarre scenes to attract the audience, so that they will not be completely immersed in sadness and feel that the film is stagnant and boring. At the beginning and end of the film, the lonely and helpless navigator facing human beings in the future will sail alone, which makes the whole film seamless, keeps the overall tone dull and low, and embodies the director's superb artistic control skills.

Of course, the aesthetic implication of the future water world goes far beyond this. As a kind of prophet film, it has achieved high box office success, and its unique charm can be used for reference, which provides an excellent reference for us to explore the shortcomings and development of China products, and also lays an indispensable foundation for us to study American films and even similar western films from the perspective of aesthetic significance. At this point, I believe that in the future film development, we will find a new and complete demonstration of film aesthetics research.