Jojo Rabbit A sample of the art of composition and metaphorical symbolism

If the former serves as a hint of mood and rhythm that drives the development of the plot, the latter is the free kingdom of metaphors and symbols, and my unfamiliarity with Taiga’s films and my indifference to color make me choose to examine the latter topic. The reason why I juxtapose “compositional art” and “metaphorical symbolism” is based on the understanding that Taiga’s compositional art has another layer of metaphorical symbolism beyond the pure expressive power of visual aesthetics, which is where its poetry lies.

In the world of metaphors and the kingdom of symbols, there is no right or wrong, only beauty or vulgarity, yet the criteria for this judgment are extremely personal, just as the beauty of a mirror is not in the size of the world it reflects, but in the fact that everyone can reach his or her ideal state through it. This article does not intend to list the paths the author has taken, but rather to provide a number of encompassing junctions for the visitor to choose from. In other words, the author believes that imagery is imagery, and that the value of the metaphorical vehicle itself is much higher than the meaning it can be interpreted.

The little boy holding the key is considering whether to release the rabbit in the cage, just like JOJO who knows the secret and hesitates to tell Elsa the news that she is free! This book, written by JOJO himself, is so wonderful that I must write a study review next time I learn German, to give the feeling of Strindberg’s Half a Sheet of Paper, eh! Literature should be that half-sheet of paper that is simultaneously and not the whole world. I’ve always been interested in texts within texts, films within films, plays within plays, music within music, because they are what make one examine the existence of what makes a medium a medium, and in the set we begin to realize the existence of the originally transparent medium, and to measure him, and in this way touch the embodied invisibility of the invisible.

II. Tent! Tent! Tent again! (The imagery of the tent)

In the opening scene of Hitlerjugend training weekend, the colorful cluster of tents is very eye-catching. There are two classic compositions, one with the opening speech and the other with the book burning and sleeping at night, as if to color a sketched sketch, and Taiga shows his extraordinary ability to perceive and arrange colors.

Dancing certainly evokes many things! Freedom, love, and gratitude, as rosie mentions in the film, “gratitude to the creator”, and here again the metaphorical chain of “dance-butterfly-shoes” that I mentioned earlier, which I think is really wonderful! Dancing requires shoes on the feet, shoes are the prerequisite for dancing, and the appearance of dancing is so close to that of a butterfly, isn’t man just like a butterfly fluttering in the earthly world? The shoes have butterfly-like laces on them! Hahaha, a clever metaphorical chain will form an interrelated triangle, in which you can’t find the essence and the metaphor, because mechanically dull they shouldn’t exist, only a higher will overrides the three related ones, they are non-referential spirits, you can say out loud what they refer to, but one can never approach their energy – – pure cosmic spirit. -The pure spirit of the universe.

You must think I’m stupid, hahaha! So let’s move on to the movie clips.

You will find that the shots are overly neat, basically parallel to the corners of the room. The neat and strict composition makes the house a closed sandbox, and the space where JOJO is located has the color of a strange world. The style is reminiscent of Wes Anderson, so straightforwardly romantic, so naturally cruel.

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