美丽的黄油漆

发呆时候脑袋里的内容物 突然的抽离 实际上很平静了

说实话，那个脸出来我确实被吓了一下

Her fight takes the form of a refusal to use many elements of film grammar in traditional ways (which is different than simply not using them) because she is primarily interested in inducing in her viewers the sensation of a difference between her films and their worlds, or, in any case, in preventing us from relating to her cinema through a perceptual mode that would allow us to take comfort in the impression that we already know and understand an image because we recognize it from a few seconds earlier.//Abel M. The Counter-Cinema of the Berlin School[M]. Boydell & Brewer, 2013:128.