Embracing the screen life in the information age, people and media are mutually extended

On the watercress, tens of thousands of people rated 8.8 points, rotten tomatoes maintained 93% freshness, the world’s highest box office results and discussion fever, without exception: it is not only the best “pseudo-record desktop movie” at present. It is also likely to be one of the best movies of the year.

The “Searching” behavior is clearly continually grouping up the entire film. The film starts with everyone who is familiar with the power-on and dial-up connection. Although we don’t know who controlled the series of operations, we were quickly attracted to this agile “Searching Montage” passage, and in a few minutes witnessed the full range of David King’s family composition and life.

All the complex emotions and events of the past are effectively listed, packaged, and thrown out.


Then the daughter disappeared.

After realizing that her daughter was really missing, David King quickly searched for police information at the time of the alarm and also initiated his own investigation.

He entered his daughter’s laptop, from Gmail to Facebook, Instagram and YouCast, and began searching for her secrets.

At the same time, on Twitter, the case slowly became a viral spread, and the #FindMargot and #DadDidIt topic pages gathered online “sucking worms”.

Between the layers of progressive browser windows and the messy desktop, the story opens up constantly flipping.


In fact, the story of “Network Tracing” itself, although written in a loop, does not produce much energy. After all, it is still a type of story written in the framework of continuous reversal. It can be summed up in one sentence : the daughter of a high school student suddenly disappeared, and Dad discovered the secret of her daughter by the network and eventually saved her. .

In other words, this is a “social network” version of “The Lost Lovers”. It has a rich drama tension in the ups and downs of the plot, and then puts family emotions, online social relationships, public opinion violence, etc. in the kernel, and the theme is also a cliché. This is a way to reveal the hidden violence and catharsis in this information age.

Therefore, the bug that entangles the plot is actually a kind of unnecessary. What makes this film a huge concern is that the entire film is presented on an electronic screen.

This form, after combining the stories, shows the unexpected and magical talents of the director and the editor, and finally gets the effect of bursting . Of course, this form is not so born to be used so skillfully, it has gone through several years of development.

As information technology penetrates into every corner of contemporary life, the information age is born in a fast-paced way. In the past, the sensational event is now just a mobile phone page that will be forgotten in the next second; the expression of human emotions and psychology is increasingly dependent on electronic information on social platforms.

Many directors are currently trying to incorporate this influence into the narrative of the film, such as Hanek’s “Happy Ending” and Xu Bing’s “Eye of the Eyes” , but they lack the basic knowledge of mastering the logic of network operations. There is also a lack of corresponding editing organization capabilities, and even the screen interface itself seems to be more credible.

The birth of “pseudo-recorded desktop movies” such as “Breakout”, “Remove Friends” and “Remove Friends 2: Dark Net” has raised this idea to a new level.

They determine the picture on the laptop screen and try to penetrate the viewer into “real life.” The “search” character behavior combines the story and the form better, and has a certain narrative basic standard and coherence in Shantou. These new media are involved in cutting-edge digital thrillers, each with its own topic.