FIELD NOTE
Aliens never appear.
Human Surrender is actually facing the movie itself.
CORE ARGUMENT / Conclusion
This article and
"Who has the right to stop."
They're a group.
Last article asked who could finish the shoot. This article asks: "What exactly is the eye that keeps the film going?"
VISUAL FIELD / Unhuman
Film screenshot, 00:24:10. The impersonation starts with the most common lens, and starts with the rewriting of human actions.
VISUAL FIELD / Unhuman
Movie screen puzzle. This article is read not by "where are the aliens" but by looking at how to occupy the scene step by step.
The Last Rehearsal gives a science fiction premise.
The war between humanity and the diaspora is nearing its end. Mankind is getting weaker and hectics are getting stronger. The parties decided to hold final negotiations, which were preceded by a rehearsal.
Strangely, aliens never really appear.
No alien enters black space, no voice from another civilization, and no clear enemy.
Three people are still arguing, explaining, rehearsing, failing.
Humans are preparing for a meeting that will never come.
But aliens may have been there for a long time.
It has no body. It does not comfort, it does not anger and it does not need to explain itself. It simply sees, records, waits, preserves all human voices, movements, silence and uncontrolledness.
It's the camera.
"Human Surrender's apparent failure to communicate with people, but deep down, the negotiations between people and a non-human device
How people translate their lives into images
How to turn unspoken parts into things that can be seen, and how to lose a little control over their own image while hoping to be preserved.
What this film describes.
Science fiction
Not in the future.
Just as the camera has been turned on right now.
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FIELD NOTE
A surrender took place before the war.
In the original recruitment, the creator said
He wanted to give the book of fate to the film.
This phrase covers almost everything that happened after the whole work.
Usually, we use movies as tools. People have a life before they record it in movies; they have ideas before they express themselves through images. But the words "to the film of fate" mean that the order has changed.
The film is no longer just a recorder.
It started to be the author.
The creators want the camera to record ideas, ideas, and all the "visible and invisible material movements"; they want it to freeze the present and give their history to the eyes of the future.
Wishful and dangerous.
The camera certainly saves action, sound, face and space. But it can't keep the invisible directly. Ideas do not appear in images themselves, and relationships do not automatically appear. In order for something invisible to enter the film, one must show it.
You have to say it.
Make it up.
Repeat.
Closer.
Let the mood appear.
Let relationships produce shapes that can be seen.
From this moment on, people are already adapting to machine language.
We thought we were confessing in front of the camera. In fact, we're learning what confession is enough to be an image.
Therefore, surrender in Human Surrender is not the result of defeat. It happens earlier. It happens at the moment a man decides to give his fate to the film.
The enemy has not yet emerged and sovereignty has shifted.
VISUAL FIELD / Unhuman
Film screenshot, 00:07:50. Surrender is not kneeling, but starting to organize itself in a way that the camera can accept.
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FIELD NOTE
Two, three parts, three more in-depth occupation.
The structure of Human Surrender seems to be moving towards openness.
The first part took place in a closed black stage. The director, the leading man and the leading woman enter the role and rehearse in complex, long shots. Rehearsals are conceived as games, and each failure can start again.
The second part leaves the box. The camera follows the actors into their lives, filming routines, rest and entertainment, and collects them into a "film database".
The third part goes to the real theater. Actors face the audience and they design the performance themselves. The event is no longer just a simulation but a real occurrence.
At first glance, this is a process from control to freedom.
There is a growing space, fewer scenarios and more creative rights for actors.
But...
From the camera point of view, it's the opposite direction.
Part one, film has a role to play.
Part two, film takes over life.
Part III. The relationship between the person in the film and the public.
The black stage has at least a boundary. After entering the second part, the border began to disappear. Food, chatting, walking, fatigue and rest can all be material. People left the set, and the camera didn't leave.
In the third part, the audience also enters the device. Private conflicts are in open form and personal status begins to bear the brunt of the performance. A saying that is out of control is no longer just a talking person; it belongs to the scene, the audience, the camera and the future clip.
Therefore, these three parts are not moving from fiction to reality.
They move from local filming to full expropriation.
The film initially asked only actors to perform, and later to contribute their lives.
Finally, they are asked to enter the work together with their relations with strangers.
Space is open.
Films are everywhere.
VISUAL FIELD / Unhuman
Film screenshot, 00:01:55. The camera doesn't need to be explained. Just keep pointing.
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FIELD NOTE
The three true aliens have an eye that won't close.
Alien life is fearsome, not necessarily because it is more brutal.
Deeper fear is
It may have a completely different way of feeling. It sees people, but does not understand them as they do.
The camera is exactly such an eye.
It accurately preserves the tremors of the lips, the hesitation of the body and the movement of the sight. It's even more careful than anyone on the scene. Seeing doesn't mean understanding.
A man is silent, a camera can only record silence.
A person suffering can only record external signs of suffering.
One man says, "Kill me," and the camera doesn't panic or reach out. It continues to work.
Another person at the scene replied
"No one wants to kill you."
This sentence attempts to pull back the language. It is not necessarily a factual judgement that is expressed by speakers. He may be asking to stop, destroying the rules of dialogue, or may simply not be able to find a more ordinary way to make others realize that they cannot continue.
But the camera couldn't tell the difference.
It only got a very strong scene.
This is the coldest thing in the lens: it does not need to hurt anyone or to get material from harm; it does not need to understand a sentence and can keep it as evidence.
It can even be said that part of the reason why the person ' s language is becoming more extreme is because the ordinary language cannot penetrate the device.
"I'm tired" is not enough.
"I don't want to continue" may be interpreted as an emotional swing.
"I don't know" only brings new questions.
As a result, the language continues to escalate until a single sentence finally has sufficient video density to force the site to stop temporarily.
People talking to each other are proving to the camera that things are too serious to be ignored.
But once this is proven seriously, it has become a movie.
VISUAL FIELD / Unhuman
Film screenshot, 00:31:28. Once the strongest expression is preserved, it is transferred from private status to video evidence.
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FIELD NOTE
It's just a game that makes the rules look harmless.
The first part was conceived as a game challenge.
It's not just formality. It reveals how the whole movie works.
The game allows participants to move freely, but does not allow them to change their raison d'être at will. Players can choose strategies, succeed or fail, reverse a round of results with anger, but as long as the next round continues, the power of the game remains unshakeable.
So is rehearsal.
This time there's no relationship. Again.
It's not real enough this time, in another way.
This failure, too, can provide experience.
On the surface, everyone is looking for new possibilities.
Deeper, the cycle has taken over.
When the process is strongest, no one really needs to believe it. As long as everyone continues to implement the next step.
The director continues his mission.
Actors continue to respond.
The camera continues to record.
Failure continues.
The role here is not just a drama, it's like three pre-set interfaces: directors, leading men, leading women. The specifics are tired, suspicious, resistant, yet still awaiting their return.
A request was made.
Someone tried to finish.
It was observed that completion was possible.
The content is constantly changing and the structure remains unchanged.
This is where the process takes over is truly terrible.
It is not that some evil man suddenly has full control, but that everyone has no idea how to proceed, but continues in its established form. Relationships have long ceased and processes are still working.
Human beings are not subjected to violence.
Humans are subdued by the Next.
VISUAL FIELD / Unhuman
Film screenshot, 00:24:10. The body constantly strikes a balance between visible and invisible lenses.
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FIELD NOTE
Life becomes a database. Everything is waiting to be used.
Part II clearly sets out the concept of a "film database".
The word is more honest than "recording life".
The record still implies some continuity: a person has his own life, a camera observes it. The database is not concerned about the continuity of life. It breaks down what happened into a serviceable unit.
A meal.
A dialogue.
Silence once.
A dispute.
A man in the back of a room.
They are saved, numbered, awaiting retrieval. In the future, it would be possible to regroup and gain new order and meaning.
The database has no real past.
It has only unusable material.
Once life enters this structure, something is no longer so important as who it belongs to. What matters is whether it can be evidence, whether it can support the understanding of a certain person and whether it can connect to another scene in a clip.
People still live in time.
The film began to tear him apart.
This creates a strange paradox
The more complete a person is kept, the more likely he is to be broken up.
The camera records his work, rest, emotions and relationships as if he were approaching a "full person". But the final entry is the selected part. The so-called complete record simply provides a larger inventory for a more precise choice.
The film promises to preserve a person's history.
It actually preserves a wealth of evidence that can be reinterpreted.
This is very close to today's data world. We keep leaving words, photographs, positioning, searching and watching records as if life would not disappear. But the more records, the more we can describe, the less we need to be ourselves, the people who own them and decide how to rank them.
It was not later that Human Surrender encountered the problem.
It's from
"Give the book of fate to the film."
At first, it's gone in.
VISUAL FIELD / Unhuman
Film screenshot, 00:57:10. The database does not need to understand life; it simply needs to break it down into actionable segments.
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FIELD NOTE
Six viewers are not human reinforcements.
In the third part, real viewers enter the theater.
This is an important change. Cameras are no longer the only eyes.
The view was dispersed to many people on the scene.
But more people didn't watch that.
Unhuman eyes.
Disappear.
It just lets that eye breed.
Audiences enter the scene with their bodies, emotions and judgment. They'll be nervous, they'll be sympathetic, they'll be embarrassed and they'll expect something to happen. But in the structure of the show
Audiences also perform a mechanical function: they confirm that the events have become public facts.
A man lost control in the rehearsal room, maybe it was an accident.
A person loses control in front of the audience and loses control and obtains a witness.
It became the history of the show.
VISUAL FIELD / Unhuman
Film screenshot 01:35:55. The public eye makes "occupying" a question that must be proved.
The presence of the audience is another pressure: the scene cannot easily be zero. People have come, the show has begun, and all waiting is demanding some kind of outcome.
So the audience didn't come to save the play.
They made it harder to pull back.
This fulfils the original desire of the creators: to freeze the present and hand over their history to the eyes of the future.
However, the eyes of the future never accept the full history.
They can only receive a history that has been selected, mapped, edited and named.
The future will not testify for one person.
The future will only see him as an image.
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FIELD NOTE
The seven gills went from "man" to "sign," which is another surrender.
In The Last Rehearsal, there is a rather dramatic saying
"I can point and point, and the subject is there."
It sounded like a philosophical declaration, but it accurately described the situation in the film.
Those who stand in front of the camera are themselves and their image.
He lives while watching himself converted into symbols.
Once a sentence is taken, it is no longer just a word that was said. It can be evidence of character, state of relationship, creation. An action will be named, a hesitation will be explained, and a moment will begin to represent the whole person.
People in the images are becoming clearer.
People in reality may find it increasingly difficult to recover themselves.
Named brings order and closure.
When a person is identified as a "crash person" "unrespondable person" "visited person" "submitor", the film acquires an organized meaning. And he's down there.
And that's why, once in a while, the film appears "eyes, mirrors, disappear."
Eyes see images.
Mirror returns image.
Movie preserves image.
But the more stable the image, the easier it is to disappear the person who can't be fully expressed.
The real alien system is not the physical destruction of human beings.
It requires humanity to convert itself into a form that can be readable, preserved and disseminated.
People still exist.
But only symbols are granted access.
VISUAL FIELD / Unhuman
Screenshot of film, 01:52:30. The person was also present, but the video has begun to give him access.
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FIELD NOTE
Eight films offer not immortality, but the rest of life beyond control.
Why would a man want to walk into a device like this?
Because the film provides a compelling promise
You're not going to disappear.
The body will grow old, relationships will end, memories will change. Images can be left. An action, a face, a sound that can pass human life to the future.
It's not surprising that creators want to give their history to future eyes.
It's one of the oldest desires of art.
But the image is never the whole person. It saves a double who is out of his control. The double will not grow old, will not regret it, and will not change himself.
Real people continue to change.
He's parked in the image.
The film then gives life not to immortality, but to the rest of life beyond control. A version of you will continue to be watched, judged, explained after you left.
You can't guarantee how people in the future understand it.
It cannot even be guaranteed that it will be recognized in the future.
Human Surrender is troubled not only because it filmed vulnerability. More than that, it leaves the most volatile and in need of reinterpretation to the most unchanging medium.
People accept being fixed in order not to disappear.
That's the price of exchange.
VISUAL FIELD / Unhuman
Film screenshot, 02:31:48. The silence of visualized personality is also an option that is continuously viewed.
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FIELD NOTE
Nine aliens are not cameras. It's what we need.
It's still too easy to use a camera as an enemy.
The camera won't start itself.
The database will not be built on its own.
Nor will future audiences force people today to leave their faces behind.
What really drives this is the desire of people to be seen, understood and preserved.
The creators believe that the film is "the last road", because the poetry, theatre, photography and contemporary art before it are not enough to repeat the deep body cry. The film has thus acquired a status of near-final decision: If not even the film can keep it, what can prove it happened?
This desire is not false.
It is even because of its sincerity that it is so dangerous.
People are not suddenly invaded by strange technology. People have taken the initiative to invite it into life in the hope that it will complete its memory, expression and proof for itself. We want the camera to see what is missing from the naked eye, we want the image to preserve the transient relationship, and we want the work to be a form of incomprehensible pain.
Aliens don't come from the sky.
It grew out of the fear of the disappearance of human beings.
So Human Surrender is not a simple movie against cameras. It can't object to the camera because all its existence is based on trust in the camera.
It suspects the eye and needs it.
While exposing the violence of the images, continuing to look for proof from the images.
It's the real power of the work that you can't escape.
VISUAL FIELD / Unhuman
Movie screen puzzle. It is not a single scene of violence, but a set of mechanisms for its preservation, naming and dissemination.
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FIELD NOTE
What do humans surrender to?
Mankind did not surrender to alien armies.
No enemy ship has landed and no weapon beyond humanity has forced them to kneel.
They surrender to another thing
To the temptation to be recorded.
(b) The inertia of continuing the operation of the procedure.
To the audience, one must see the expectation of something.
"Only getting into a movie is really happening."
When a person begins to organize himself in a way that the camera can preserve, surrender has taken place.
When life has to become material to prove its worth, surrender has taken place.
When we believe that uncensored pain is not true enough, that undisclosed relationships are not important enough, that the experience of not being named is almost non-existent, and that surrender has taken place.
The film did not force humans to kneel.
It's just promise to remember the human race.
In order not to be forgotten, human beings have voluntarily translated themselves into shapes that they can preserve.
Therefore, The Last Rehearsal is not a prelude to final negotiations.
It is the negotiations themselves.
Human beings have repeatedly shown a way of viewing an inhuman person: we can be understood, we can be preserved, we can organize our lives into data that you can receive.
The dissidents never answered.
The camera continues to turn.
By the time the film was finished, humans had given everything they could.
Aliens never appear.
Because we've already built the whole world for it.
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FIELD SIGNAL
Continue reading
Who has the right to stop?
Brain Ashford
Film theorist and cultural critic. His work focuses on the intersection ofcinema, philosophy, and late modernity.
Brian Ashford, British film critic and cultural critic, focuses on the intersection of film, philosophy and late modernity.
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