Under Stillahavsområdet delar vi med Mako Mori ett minne om sin barndom när hon blev rädd från en Kaiju attack av Marshal Pentecost i hans Jaeger . Under dessa händelser förlorade hon på något sätt en sko och sedan plockade den upp och tittade på den, tror jag.
Jag gjorde inte mycket ut av det här, men sen senare när Dr. Geiszler första besök Hannibal Chau han (eller åtminstone kameran) märker Chau s extraordinerade guldpläterade skor och när Chau Senare blir det ätit av den nyfödda Kaiju , bara ett av hans skor kvar, vilket Geiszler plockar upp och tittar på det. (Och dessutom i en rolig efterkreditsscene ser vi Chau ut ur Kaiju och grymt ber om hans sko.)
Med tanke på dessa två ganska anmärkningsvärda incidenter med skor, men ändå helt annorlunda i deras individuella humör, är min fråga: Finns det någon djupare betydelse för de skor eller hur de hämtas och tittat på? (Det kan givetvis också vara att jag bara gör mer av det än det är, särskilt med tanke på avsiktlig ljushärdighet i den här filmen.)
En bra fråga.
Jag har personligen alltid sett röda skor som en representation av drömtillstånd, som i Wizard of Oz, och här är en bra webbplats som erbjuder en intressant tanke på detta, inklusive:
...I think they simply serve to show a bond between the characters. It raises a question, what does this mean, why is it important to them? Later, we discover why; she wore them when he saved her from the Kaiju...
...If you think of red shoes, and you care about film, you should already be at Powell & Pressburger. THE RED SHOES is one of their masterpieces, and very well regarded by many other film makers; undoubtedly Del Toro is a fan. [...] If you don’t flash to THE RED SHOES, you should certainly flash to THE WIZARD OF OZ. [...] None of these references are too significant, nods really, but they help establish a sense of style and feel among other things.
...Finally, Hannibal’s shoe… how does that play in? [...] An empty shoe is a powerful reminder of the person who once stood in it, and I think in this way they can touch on apocalyptic imagery without overstating it. [...] The fact is, shoes are surprisingly unique items that say a lot about their owners and empty, they look…wrong. I think, in the end, it is actually as simple as that. Without necessarily tarnishing more – let us say “worthy” – symbols and images, Guillermo manages to harness them to enhance the depth of his own fantasy piece.
För en mer "highbrow" ta på sig betydelsen av skor, kan jag rikta dig till denna uppsats , som undersöker den djupare psykologiska betydelsen av skor i konst och litteratur.
Till whit:
...A shoe without its mate, for most of us, is like a low-grade fever — not a major disaster, but definitely a pain. In a movie intent on matching and pairing everything, it’s a sign that something is afoot.
...Of course, footwear as a visual fulcrum is nothing new. [...] In “The Origin of the Work of Art,” Heidegger speaks of these shoes as reflexive “equipment,” instrumentalized forms that mirror the starkly enduring lives of those who wear them...
...As equipment — as instrumentalized forms that re-express the forms of their users — all three are on the same page. [...] Hannibal’s footwear reprises the high-risk but surprisingly low-casualty life he leads as a black-market dealer in Kaiju parts. His opening bravura, his seeming downfall, his post-credits comeback — all of this is externalized and objectified by the fate of his shoes. What is remarkable here is the deep resemblance between the equipment and its user, the fidelity with which one tracks the other and amplifies the other, thanks to the infinite reproducibility of form across an infinity of scale.
...the nesting of self-replicating geometric forms, as posited by Benoit Mandelbrot in 1975, when he coined the word “fractal.” Shoes are a familiar instance of this: a slightly enlarged re-expression of us, copying both the physical anatomy of the feet encased in them and the emotional contours of the person walking on those feet. Hannibal’s shoes are not alone here. Mako Mori’s red shoes, the other star players in the footwear department, also copy her in just the same way. Mako has initially seemed too overwrought, too stuck in her traumatic past, to be trusted with a Jaeger, one of the giant robots that stand between mankind and the Kaijus. In her backstory, as a child wandering alone through the rubbles of Japan (a scene in turn framed by the large shadow of Hiroshima), she comes across as unhinged, wearing one shoe and carrying the other in her hand. But she’s always had both in her possession, just as she’s always had her wits in her possession. She is a together person, as the togetherness of her shoes could have told us all along.
...Resemblance is key. For all its high-tech contraptions and CGI geekery, Pacific Rim remains firmly rooted in a primitive, resemblance-based, analog world, honoring the iterative sameness of the embodied form, rather than the numerical abstraction of the digital universe.
Läs andra frågor om taggar analysis pacific-rim Kärlek och kompatibilitet Skor Gear 12 Stjärntecken Grunderna