"Father and Daughter":
"Father and Daughter" is an animated short film directed by Dutch animation director Michael Dudewitt in 2000. Jennifer Bangs participated in the performance. It was jointly produced by the British cloudrunner film company and the Dutch cineTeFilmproductie film company.
The film won the 73rd Academy Awards for Best Animated Short Film in 2001, and the 54th British Academy of Film and Television Arts Awards for Best Animated Short Film.
The film mainly tells the story of a warm autumn evening. Father and his daughter ride bicycles together. They cross the forest path, ride the grass, and ride up the high slope to the calm lake. The father hugged his daughter and boarded the boat. The daughter waited quietly by the lake, waited until the boat was blurred in sight, and waited until the sun was about to set. The father was too late, and the daughter rode back on a small bicycle alone.
Since then, my daughter has come to the lake to wait every day. She rides a bicycle to and fro, rain or shine. Over the years, the little girl became a woman, a mother, and grew old in a blink of an eye.
She was old and came to the lake day after day, until the lake dried up and turned into a grassland. She came to the boat sleeping on the bottom of the lake and lay in the boat, like lying in the warm arms of her father.
This is a kind-hearted short film, warm and lonely, full of love but sadness. Even though the expression method is relatively gray, its core is beautiful, leading people to be kind and moving. This is the true responsibility of art. This article will interpret the artistic charm of "Father and Daughter" from three perspectives: narrative techniques, object metaphors, and theme presentation.
Narrative skills: use linear narrative to connect the plot, switch the omniscience and external perspectives to advance the plot. Together, the two build a complete story. The length of the film is only 9 minutes and 22 seconds. There is no dialogue in the whole process, and the tone is dark. It uses distant and mid-range shots. Present the plot. The director randomly switches perspectives according to the needs of the plot, and uses time as the clue node to grow a woman from a child to a girl to a young woman to middle age and then to old age until death. The classic linear narrative structure of the life course of waiting for her father presents 10 daughters. Waiting for the time node of the father. The film integrates the development of the plot into the time node, showing the growth of the characters and the understanding of waiting at different stages through the passage of time.
Father leaves, waiting for childhood. The childhood heroine followed her father to the river embankment and watched her father rowing a small boat alone getting further and further away from her. She leaped on the river embankment and waited for her father, but her father did not come back until she turned and left. B. Father did not return, waiting as a child. As soon as the screen turned, the hostess had grown up a bit, but she was still waiting for her father, and she rode to the embankment alone to wait for her father who had not returned, but until she left, there was still no return of her father in the distance where her father had left. C. Father still has not returned, waiting as a girl.
In the coming of spring and autumn, the heroine is already a young girl, facing the wind hard to push the car up the embankment where her father left. Only the father's car is still on the embankment, and the figure of the father returning is still hopeless. D. Father is on the other side, and the adult "I" is still looking forward to it. The adult female protagonist is beautifully dressed, standing on the river bank and staring at the distance where his father is gone. The date of his father's return is unknown. E. Father across the river, the grown-up "I" stopped and watched. The hostess followed a group of friends, rode across the river bank, stopped, and stared at the vast river, not knowing when the father across the river would return.
F. Faraway father, watch for friends. The hostess was sitting behind her boyfriend's car, facing the river, quietly watching the calm surface of the river, without stopping, and some praying in her heart. G. Looking forward to being a mother after a long-lost father. At this time, the hostess was married and had children. She was riding a car with her husband. The car was carrying a child. Both parked the car on the riverbank and took the child to the riverside to watch the distance where his father had left. H. Father is still far away, watching in the middle age. In a blink of an eye, the heroine arrived at a middle-aged woman, and rode alone to the familiar river bank again. There was still no sign of the return of her father on the river, and she left sadly. I. Where is the father, waiting alone in old age. The hostess was no longer young, and she was in her old age. She rode to the river bank. At this time, the river was already dry. She walked to the river and looked farther in the distance, but she still didn't know where her father was.
J. Father is far away, I want to come with you. The hostess could no longer ride the car, and slowly pushed the car to the embankment where her father had left. The car fell and supported, helped and fell, helped and fell, and finally gave up. I came to the river alone, walked down the riverbed, and walked to the far distance where my father had gone. I found my father in that distance, and finally saw my father who was thinking about it day and night. On the way to her father's embrace, the heroine became younger and younger. From a child to finally getting old, the hostess has been watching and waiting for the father who left in her heart, but the father never returned. Through 10 time points, the heroine's waiting for the father's return is connected in series, which illustrates the weight of the father in the heart of the heroine, and expresses the strong affection between the father and daughter. The switching of the omniscience perspective and the external perspective conveys two completely different messages to the audience. The omniscience perspective is what we call the "God perspective", and it is an omnipotent perspective. From the very beginning, the director uses the omniscience perspective to convey that the father's "departure" in the film is an eternal departure, and there is no possibility of returning. After this information is passed on, the story will be unfolded with an external perspective, which will give the audience an extremely moving experience of watching movies.
The external perspective is the perspective of the heroine. From the perspective of the childhood heroine, the father's "departure" is only a temporary departure, and he will come back again. Therefore, the childhood heroine would naively think that she would always wait on the river to wait for her father who had gone away. Even if it is not so easy to come to the embankment, the joy of waiting for the return of his father is always worth looking forward to. As the heroine grows up, the heroine still has no relief for her father's departure. Maybe she knows that her father is gone and will not come back again, but she still believes that when she waits on the riverbank, one day her father will still appear in her field of vision. , Then my company and waiting on the embankment are worthwhile.
But life cannot be stagnant, the heroine is married, the heroine has given birth to a child, and is still full of expectations for the return of his father. The female protagonist’s perspective coincides with the full-time perspective. The female protagonist understands that her father’s "departure" is a real departure, but the waiting on the riverbank has become part of the strong affection between the female protagonist and his father, so the female protagonist will already go to the riverbank to stare. Waiting for my father to leave. When the river dries up and overgrown with weeds, the hostess has thoroughly understood that her father has left her forever, and how can her father return by rowing a boat without the river. Since my father couldn't come back, he was waiting for myself to find him. The heroine walked through the tall weeds, and saw her father's departed boat and a skeleton in a tidal flat river sand. The heroine lay lightly on the side of the boat, as if lying in the arms of her father. In "Arms", the heroine sees her father, and the moment she rushes into her father's arms, confirms the rationality of the omniscient perspective at the beginning of the film.
From the omniscience perspective, the film conveys to the audience a result that is already known, while the other perspective conveys a result that the heroine does not know. The audience sees the unknown plot of the heroine from a known perspective, which is undoubtedly an excellent use of narrative perspective. It not only enhances the viewing experience, but also makes the audience moved by the heroine's firm and beautiful watch over her father. Thing metaphor: Use highly symbolic things to show the value and connotation behind the film, and give the audience in-depth thinking about family affection, life, reincarnation, etc. "Father and Daughter" can be greatly recognized by the audience. A large part of the reason is that The theme of the film fits the reality of our lives very well, and the problems it reflects are also what we have to face in life. The director repeatedly presents corresponding things to express special connotations, so that the film is no longer a seemingly simple plot but a growth story that implies a philosophy of life. Rowing across the river: towards death.
Because the director himself is deeply influenced by Japanese and Chinese culture, the aesthetic style of the film is closer to the beauty of Dongfeng. The film does not use popular computer animation technology, but uses a traditional hand-painted form, which has the charm of oriental aesthetics. The river in the film exists until the heroine is old and disappears. From the perspective of our traditional culture, this river symbolizes the Nai River of death. Crossing the river by a boat means death. Therefore, the theme and tone of the film were laid from the beginning. Wheel speed: life cycle. The heroine of the film goes to the embankment to wait for her father to go on a bicycle. The speed of the wheels varies from fast to slow, and to greater. Those who are too slow symbolize people's age and senility, until death, just like the wheel moving slowly when the heroine is aging. Those small and fast symbolize children's vitality. The earth is slowly lost, and the small ones come quickly, implying the reincarnation of life, the old people are aging and leaving, and new lives are born and grow slowly. Headwind and climbing: growing pains. The climbing hill set in the film is a very meaningful scene, and the same is true for the heroine riding a bike against the wind when she was a teenager. Headwind and hill climbing symbolize the difficulties and pains encountered in the growth of life. Without the painful experience, there will be no harvest and growth.
Only when people experience difficulties and setbacks can they become stronger and dare to meet greater growth challenges. In the film, the heroine loses the help of her father and is climbing the hill alone. This tells us that all the pains encountered in growing up need to be faced independently, so that she can truly grow up to adulthood. Children and Husbands: The lack of paternal love for the heroine. When the hostess was a wife and a mother, she rode the child with her husband to watch the distant father by the river. The husband took the hopping children down to the river bank, while the hostess stood alone on the river embankment, looking into the distance. The strong affection between the child and the husband is revealed, which means the absence of the father and the absence of the father’s love in the process of the hostess’s growth. The child is happy and happy, while the heroine is unfortunate and melancholy.
There is no stopping to stare: bid farewell to the waiting of father. In the film, the heroine appeared on the river embankment 10 times, and on 9 occasions, she stopped and watched for a while. There was only one spot. The heroine did not ride a bicycle, but was riding in her boyfriend's car. The hostess faces the river, and as the car goes away, the river where his father left is also drifting away. After that, the heroine got married and started a career, followed her own life path, had her own family and children, and had her own being watched. Therefore, this time staring at the embankment without riding a bike or stopping is a symbol of the heroine's inner bidding farewell to the waiting that belongs to her father. It means that she needs her father, but some people need her even more.
The existence and disappearance of father's bicycle: watch and sustenance. When the father left, the bicycle was leaning against the tree. It was not until the first time when the hostess grew up to become an adult that the bicycle disappeared. When the bicycle exists, the heroine is still a minor. In fact, its existence is an externalized form of the heroine's heart guarding his father, which means that the bicycle will return to his father. The bicycle disappeared when the hostess became an adult. Without the bicycle, it means that the father will never return. It means that the hostess understands that his father’s departure is truly leaving herself. That can only hide the image of the father’s bicycle in her heart. An expectation of sustenance. The light in the night: the power of the father. There is a three-second shot in the film. A beam of light in the night may be the headlight of the heroine when she is riding a bicycle, or the flashlight when the heroine is walking. I prefer car lights.
This is a very meaningful scene. The dark night symbolizes that everyone will grow up through the dark night, but in the dark night we will always find the light and walk out of the darkness. The previous scene of this scene in the film shows the heroine sitting in her boyfriend's car. This dark night is likely to be the emotional pain of the heroine after being broken in love. Of course, this dark night is more likely to be the distress and hindrance in the heroine's heart, representing loneliness and confusion.
When the hostess rode through the riverbank when her father left in the dark night, and the beam of light was given to her by her father, she was expecting her father to guide her out of the night and find her way home again, so that she no longer feared the darkness and loneliness. In fact, almost every frame in the film is a picture, and every picture contains the connotation it wants to express. For example, the person who walks towards the heroine becomes smaller as the heroine gets older, and vice versa, it also symbolizes the aging and reincarnation of life. The film connects these highly connotative things and the pictures one by one, presents a different story to the audience, and brings a different understanding to the audience.
Theme presentation: Behind the life-long watch of my father is the endless cycle of life and the ultimate thoughts of growing up. The main connotation of "Father and Daughter" should be growth, longing, and life, which is displayed in a compact and clear 9-minute plot. How does a person grow up showing nostalgia for family love, rest and reincarnation of life through various details.