《The Disappeared TA》was not an instant hit with audiences after it was released on?, why the glossing box office sensation earns?that cognitive effect?of snap audience awake?after it was released on???in this lecture, we'll learn the special recipe for making people think. so that you can earn the similar awaken cognitive?effect instead?of? emotional escapism.?because intensify emotions form the core of our brains, the?deepest and strongest drivers of our identity and behave, so that's why we're so easily conned into irrational self-destruction, allowing more romantic satisfaction to get us all drunk on empty video entertainment, while the real world burns outside.??spoliler alarm: if you haven't seen the film, hit the pause and go ahead to enjoy. 是的是的，曾幾何時，我們求簽問卦的，就是影視故事的霸道總裁從天而降，免去自己的一切奮斗，給自己負擔所有的費用，甚至支持自己所有夢想成真，曾幾何時，骨感的現(xiàn)實一次次給了警鐘。我們不可能再沉迷浪漫滿足的世界逃避現(xiàn)實，于是乎《消失的TA》協(xié)助我們批判性的思考這種現(xiàn)實背后的原因。是的，那些深沉的情感，總是驅(qū)動人設(shè)的打造，引以為豪，驅(qū)動人誤會對錯的行為，一念之間。不管你結(jié)果后果后悔與否，都成為人生的試錯成本?！断У腡A》并沒有替代你思考，給情感的避港灣。而是啟發(fā)觀眾不斷的深度思考，給情感問題深度念轉(zhuǎn)治愈。一起來分析這種認知效果改寫如何通過情節(jié)展開的吧？！劇透警告，如果沒有看過完整影片的，建議暫停去體驗。

<the disappeared TA> wants to alienate us to make us feel the cracks and differences, between ourselves and the characters. to do this, the script invests each character with a mix of motivess. some of these motives are rooted in deep and powerful fears, that encourage empathy in the audience, but other motivess seem happenstance and trivial, which generates an ironic implication of deeper secrets, promoting the audience to look for the hidden reasons, for the character's behavior, and to question, whether the original empathy was deserved.?

how doest the technique work? with one challenging character, calls for his lost wife, but there's no evidence proof his wife side by him is false. HeFei seems to be motivated by a desire to fight injustice.?影視開篇主角何非 假老婆 警官出現(xiàn)的，何非生生控訴假老婆如何假，情緒是角色與觀眾建立同理心的關(guān)鍵，但是，何非手機里的證據(jù) 錄像里的證據(jù) 戀愛細節(jié)的證據(jù)，都透露了秘密，讓觀眾感覺自己的同理心真的值得嗎？！

when Pliceman?complains that HeFei is just and i'll trouble maker. and he resist over the seeking for the lost wife case. then HeFei gets into an entirely theatrical display of outrage. 當書店買書證據(jù)再次對何非供詞不利，鄭警官拒絕接受假妻立案，這時候的何非怒火中燒。

the script makes the audience wonder, whether HeFei has any deep purpose in mind at all. he might be a?paranoid otherwise why he constantly rely on those drugs. 此時的觀眾不由得問何非是不是真的有妄想癥，還是另有所圖。

so the juxtaposition of false wife?significant motives, and her?trivial ones makes the audience question. nothing in the script ever provides a clear answer. the?script forces us to interrogate false wife motives in the same way, by betraying false wife as a nuisance than as a hustler, then as a wife, than as an opportunist, then as a social conscience. 同樣的觀眾對假妻子對行為也是充滿困惑，劇本并沒有清楚的提供答案是別有用心，還是可憐的棄婦，觀眾不知道該怒斥假妻子是個機會主義利用富商，還是充滿責任感對糊涂的丈夫不離不棄。

it makes us question. what's he fighting for? what is he most deeply believe? does he know himself. unlike traditional scripts, which carefully make us sympathize with their characters. this script keep scrambling our feelings and pushing us away. it even scrambles our feeling for the stories main antagonist. 讓我們不由得產(chǎn)生疑問，何非為何這樣費力的探索真妻子去哪了，知道自己是誰嗎？行為不假思索了嗎？與傳統(tǒng)劇本讓觀眾和角色建立同理心不同，該劇本不斷的推開觀眾與角色的同理心，甚至對于反派角色也是用同意的疏離感。

the main antagonist, as we've known, the antagonist is usually a physical embodiment of the story worlds core rules. and when we first meet Layer, that's whe she is, the human face of propaganda cool. after HeFei raps"the friend of mine lost his wife, one false wife out of blue prevent him suiting for law". Layer coolly temps down this hot emotion by saying :"this is nomal business, is there somehting wrong with that, by depicting one similar story without accuracy answers". with that entirely rhetorical question, Lawyer restores the surface of the propaganda world. it's all chill and normal here. but the layer's final line in the scene is heated cry from the hearts. "i made lots of mistakes, for seeking the truth, the husband killed the real wife, who desperated to loving him, desperated to dying without despire".? 反派就是某個司空見慣的不公平的故事世界的化身。律師出現(xiàn)的時候，面對何非“我的朋友的妻子消失了，一個從天而降的假妻子阻止立案調(diào)查”。律師平靜的講了一個類似的妻子消失的不了了之的案例。這世態(tài)是這樣的。但是影片結(jié)尾，律師掩飾不住內(nèi)心吶喊，哭道“你后悔嗎？你親手殺了愛你的妻子和孩子，一個妻子為愛你迫不及待的一步步妥協(xié)到?jīng)]原則，一個妻子為減少絕望煎熬迫不及待的加速死去”。

HeFei response inocent, "is there anything wrong with me, why can't i born with better situation. why can't wife help me out again and again, how could she witness my suffering from paying debts without helping hand.?" which makes us start to question. is anybody happy there. is HeFei a victim of the propaganda world? or is he simply reaping what he sown? 影片何非面對昭然若揭的真相大喊道“我生來經(jīng)濟不寬裕，生來為經(jīng)濟奔波，也是我的錯嗎？看到我為貸款苦苦掙扎，她作為妻子幫我有錯嗎？花她父母的錢有錯嗎？”也是和故事世界強烈的沖突。觀眾不由抽身思考，究竟何非是故事世界的受害者，還是自食惡果？！

the tone works throughout the script always split into two part, one half of the time is a matter-of-facts realism, the other half of the time it's a self-conscious perfoemace. each of these tones disrupts the other, making the audience wonder, which one is true. you can create a narrator that sees with two different God's-eyes. one that sees the truth, and the other that sees a different conflicting truth. then speak both truth. that tone generate brilliant scenes from shocking moments to the moment where the characters break the forth wall to sharing the propaganda chill, is a violent collision of unresolved emotions.?通篇的基調(diào)一分為二，自相矛段，其一真相是事實尋求正義，另一半真相是人性尋求因果。如同敘事者創(chuàng)建兩個真相，一個真相大白的事實，另一個未解決的情感沖突，最后給觀眾的思考，哪一個是對的，“到底無止境的協(xié)助無止境的寬容是對的，還是被給予幫助的理所當然是對的，這不就是這個世界習以為常的司空見慣的論調(diào)嗎？！思維表面上何錯之有啊，思維導演的行為上卻大錯特錯啊”。

well, we feel unsettled and our emotional discomfort is heightened by the way that the scene, but we feel powerless to speak up or intervene. ?yes, it's undertandable mistake, but unblievable tragedy.?是啊，當真相昭然若揭的時候，觀眾感情不舒服不安的，但是人的思維聽起來，卻找不出義正嚴辭的批判的理由?？梢岳斫獾腻e誤思維司空見慣的，但是難以接受的悲劇。

the positive change requires us instead to shake off sentiment and reason critically, untill the audience gets restless, shakes off the illusion of performance, and begins to actively question. that's the epiphany the audience got, where the script finally point the audience to the right direction in a more useful way. 影視通過疏離觀眾對任何一個角色的情感共鳴，去積極的提問，得到的念轉(zhuǎn)，這種悲劇的根源，就是我們司空見慣的思維。對的，被幫助的人不應該認為理所當然。有能力幫助的人不能沒有原則和底線，畢竟經(jīng)濟可以救濟，精神貧瘠可是經(jīng)濟可以救濟的嗎？！