What kind of movie is considered a good movie?
Do you have a sense of substitution? Publicly recognized? Timeless? Or is it one that you can’t help but look back on multiple times?
In the process of watching movies with joy or sadness again and again, we follow the characters in the film through a short and long life, and we share the sorrow and joy with it.
But I have to admit: different people have completely different feelings and insights when watching the same movie.
I was even more amazed after reading the work "The 24-Frame Psychological Code" by the well-known film critic Wei Zhichao.
The subtitle of this book is "Psychology in Movies". The author uses movies as a carrier to analyze the characters (such as directors, protagonists, audiences), events, carriers, etc. related to the movie, and naturally combines social current affairs to analyze many psychological mysteries.
I have to say that a lot of the analysis content simply opened the door to a new world for me: it turns out that this movie/plot can be understood from this perspective.
If you love watching movies and are interested in psychology, then this book is really suitable for you.
As a book with a certain film review nature, another difference between this book and conventional books is that although it is based on psychology, part of the content is still "different people have different opinions, and the wise have different opinions." Under the collision and analysis of different thinking and cognition,
triggers a brainstorming between the author and the reader, which is also very interesting.
Moviegoers with goosebumps, have they seen a good movie?
Do you remember which movie once stimulated you to the point of getting goosebumps? How did you evaluate it at the time?
In addition to movies, we are also more likely to be stimulated to goosebumps while listening to music, dancing and other aesthetic activities. The book
points out: This is called the "piloerection" reaction. Having such a reaction actually means that what we are doing or observing makes us feel obsessed, amazed, and shocked.
So that movie that gives you goosebumps will most likely have a high rating in your heart.
Interestingly, there are a few people who can "autonomous piloerection", which means they can independently control the goosebumps in parts of their bodies, and it can also affect their emotions, producing feelings such as wonder and fascination.
Therefore, if a movie wants to get a higher score, it can consciously "induced" the audience to get goosebumps. Under the guidance of the corresponding emotions, most viewers will think the movie is "good-looking".
Although this is obviously difficult to operate, I have to say that I feel like I am being manipulated again.
writers have a look: The formula for writing good stories
will analyze story writing in movies from a psychological perspective, and you will also make new discoveries. The author of
put forward a formula in the book:
A good story = two fears + one unwillingness
Many classic movies of Disney actually conform to this formula.
Take " Zootopia " as an example:
Fear 1: Judy is worried that the peaceful situation between carnivores and herbivores will disappear;
Fear 2: Judy is worried that carnivores retain violent instincts.
One unwillingness: Judy is unwilling to be like her parents and wants to do big things!
Among the two fears here, one is real fear and the other is false fear; but before the conflict of the story fully breaks out, neither the characters themselves nor the audience can know which fear is the real fear.
For example, after the predators regained their violent instincts, Judy's second fear took over. She inadvertently exposed this at the press conference, hurting her friends and hurting the entire Animal City.
After this, she discovered: what she was really afraid of.
And back to unwillingness, in the later stages of each story, the screenwriters will give the protagonist a "fatal" blow, driving the protagonist into the dust, and it seems that there is no possibility of recovery; for example, after Judy resigned, she went home to grow radishes: she failed to protect the Zootopia, failed to do big things, and ended up being "trapped" here like her parents.
And in the fiercest unwillingness, there is often a "dragon-slaying sword" that can turn the entire situation around: how to reveal the truth about the violent instincts of predators lies in what Judy does every day.
The same formula also applies to other movies, such as " Frozen ":
Fear 1: Elsa worries that she cannot control magic and becomes a monster in the eyes of others;
Fear 2: Elsa worries that she will harm her family.
Elsa closed herself off because of an accidental injury to her sister when she was a child, but an accident happened during the coronation ceremony and she chose to escape. At this time, she believed that her fear was the first.
Of course, at the same time, Aisha's heart is also that is not willing to accept : is not willing to have such a special ability and cannot integrate into the world, and is not willing to be forced to be closed off.
But after a series of events, her sister was accidentally injured and frozen by herself. Only then did she realize that her true fear was "worry about harming her family." Correspondingly, the change she wanted to make was to "protect her family." For this reason, she had to defeat herself and control magic.
When she rescued her sister with love and was able to protect her family and the people, her unwillingness was resolved, and her true fear became a motivation.
In most story writing, we are used to talking about techniques, but we did not expect that such "mental techniques" can be equally interesting.
written at the end
A good movie not only tells a story, but behind it is the reflection of the director's personality, the audience's psychological interpretation, and the hidden mapping of social psychology.
If you don’t believe it, you can think about it:
In "Harry Potter", when baby Harry and his parents were chased by Voldemort, his father was killed in order to delay his wife's defeat, and his mother was also killed in order to protect Harry. But the mother sacrificed herself before dying to cast the ultimate protection spell on her son, and the Avada Kedavra curse released by Voldemort was rebounded.
Do you have any doubts about the content of this story?
If not, then you can think about it: Why can miracles happen under the outburst of maternal love, but not under the protection of father's love?
Why do we think there is no problem?
What kind of social psychology is hidden behind this?
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