Archetype Shaping And Poetic Expression Of Theo Angelopoulos Films From The Perspective Of Archetype Criticism

People's understanding of Greek history is always too long,even mistaking the dark gray of the stone statue as the background color of the whole Greece,but forgetting that this land was once the birthplace of civilization.This kind of grey,which is misunderstood by people,has also become the most important color in theo angelopoulos movies.Just like an old friend of the hero said in Ulysses' Gaze: " God created travel first,then homesickness." Travel and homesickness run through all the themes of Angelopoulos' s films.However,the reflection on history,existence and life,just like the decadent and complicated political climate in the Balkans after the Cold War,is very hazy and heavy on the way its characters wander forever.Theo Angelopoulos once said,"I wouldn't call this sense of history " a documentary thrust." I rather think it is a Greek tradition.If we recall the Greek classics,we notice that most of them work with myths referring to much older periods,and in this context history is used as a continuous backdrop,independent of any the matic concerns".This is not only an affirmation of the meaning of Angelopoulos' s works,but also an important direction for future generations to study Angelopoulos' s works.Therefore,we have reason to believe that the modern reappearance of Greek tragedy and the expressions of various mythological archetypes,such as broken statues,relived gods and tolerant audio-visual images,are repeatedly seen in the film,which constitute the unique ideographic form of Angelopoulos' s works-a cultural vision of " archetype",rooted in history and tradition,reconstructed but tending to deconstruct,closely related to race,religion and national consciousness,and spanning the rhetoric of multiculturalism.The first part of the paper will make a background overview of Northrop Frye's theory of archetype criticism,and systematically introduce the special analysis method of archetype criticism and its special expression in literary anthropology and film art by integrating the discussion of Frye,Frazer and Jung.Archetype Criticism is a school of criticism that cannot be ignored in the west in the last century.Northrop Frye tried to sum up all literary phenomena and experiences on the basis of myth through the perspective of structuralism,so as to build a scientific and clear-cut literary building.The basic connotation of archetype is the same.The logical starting point of this concept is the same and unitary,that is,archetype refers to the original mode of things.archetype is not the innate spirit that " precedes" people's physical and material practical activities,but the abstraction of people's pursuit of the original of things in the process of historical practice and the patterning of their spiritual emotions.However,its extension is multidimensional and its manifestation is diverse.It has different dimensions such as philosophy,theology,psychology and culture.However,its manifestations include " idea" close to the origin of things," behavior pattern" similar to instinct," comprehension pattern" as psychological archetype,and " God" prototype in theology,etc.This means that the extension of "archetype" is not a simple symbol,but includes a broad concept of signifier and signified,experience and practice,production and consumption.The study of Angelopoulos' films from the perspective of archetype criticism not only means the study of the significance of myth archetype to the expression of motif,image and plot in Angelopoulos' texts through a cultural,collective and social perspective.It also means that it is necessary to study Angelopoulos' recognition of archetype behind hidden materials or works from aesthetic occurrence and aesthetic psychology,and to explore the deep psychological mechanism of Angelopoulos' films.The second part of the paper will focus on specific films,systematically display and categorize the most important archetypes in Angelopoulos' films.Combined with the text,this section will explore the origin of the archetypes in Angelopoulos' films,as well as the reproduction and transformation of the archetypes in the films,and the final comparison with the original meaning.This paragraph is divided into three sections for discussion: the first section discusses the most basic archetype of the film on the plot level,that is,the film as a part of the overall communication system,the archetype as the meaning expression of the motif in the film.The second section explores the correspondence between the rich symbols in the film and the natural world,and tries to restore the original and unshifted ideographic world behind the work by exploring the symbolic system of mutual references in different films of Angelopoulos.The third section will explore the possible connection between film narration and primitive ritual from the perspective of cultural anthropology.Here,the narrative plane is a "Les rites Passage" demonstration,where the unconscious moves toward the ritual of circular storytelling.In this sense,there is an overall archetype of literary narrative,which represents the unconscious attention to human survival and natural evolution.In his films,this kind of exploration also constitutes the core of his film's deep expression.The third part of papar will focus on the unique time consciousness and personal complex in Angelopoulos' films,trying to construct the poetic dimension of the representation of mythological archetypes in his works.In this sense,Angelopoulos' film unique mise-en-scene and time-to-space conversion in single lens,has not only points to narrow audio-visual techniques,to the thought from the genetic perspective,as a Greek director in a unique political climate,by repeatedly recognizing myth and history,Angelopoulos built the pre-modern concept of myth and history into the broad modern narrative text in the Balkans,and pushed the film expression to the modern time consciousness itself behind the camera,thus showing a deep humanitarian concern.Therefore,to explore the poetic style of Angelopoulos' s films from the perspective of archetype criticism means not to seek the poetic style of the works from the traditional film themes,characters,plots and other levels,but to explore the generating significance of archetype from the expression level of the works,connecting modern poetics with ancient myths from the meta-linguistic characteristics of archetype.This paper tries to prove that there is actually no essential difference between archetype's fictional composition and narrative style and the ontology of poetics,thus equating "archetype expression" with "poetic style".