Essay on Heroic Movie

With the development of science and technology, more and more movies relying on computer technology appear in people's eyes. Among them, the attendance rate and box office return of superhero movies are particularly high. The following is what I have organized for you, for your reference.

Part I

On the Oriental Art of Hero Chen's Movies

[Abstract] Hero Chen combines the concept of tranquil and calm oriental culture with the western movie art through a unique way of thinking. His masterpieces are characterized by both hometown sentiment and European-style Eastern plots in the capture of Vietnamese culture. He emphasizes on poetic descriptions and uses the language of cinema to move the audience's mind like a poem. Even in the face of a land full of suffering, tears and despair, Tran Hero remains poetic. This paper starts from Chen Hero's film text, analyzes his film text and cultural connotations through the exploration of his cultural background, and thus deepens the understanding of Chen Hero's directing style in a higher and wider field.

[Keywords] Oriental Culture; Vietnamese Cinema; Directing Style

Vietnam, once known as "Indochina", is a close neighbor of China, which has been far away from our sights due to decades-long wars, which have made the world misunderstand and be curious about it. After the 1990s, Vietnam came back to our attention. Colonial films became a cinematic trend offering beautiful illusions and comforting realities. While exotic movies such as "The Lovers" and "Indochina" attracted the attention of the Western film industry, "The Taste of Green Papaya" gave us a closer look at the real Vietnam. Although the director of this movie, Tran Hero, is a movie director cultivated by French culture, he has the quiet and shy temperament of traditional Vietnamese culture, thus forming his unique way of observing and expressing things in the movie thinking as well as expression, a kind of oriental art that is quiet and elegant.

I. Hero Chen's Cultural Background

Director Hero Chen is a famous Asian-French director in the international movie industry today. He was born in Vietnam and immigrated to France at the age of 14. After studying philosophy, he decided to study film after seeing a film by a Vietnamese director that moved him. This decision was the beginning of his life as a filmmaker. Tran Hero entered the prestigious Louis Lumière Academy, which specializes in training cinematographers, and studied cinematography because he believed that a director's ability to sequence scenes should be learned from watching films. This is how he formed an inseparable relationship with movies, and then began his career as a movie director. Hero Chen has gradually developed his own unique style of image expression in his movie and television works. He made only five films in 20 years, but this did not stop him from becoming a renowned director in Asian cinema, thanks to the strong personal style that his films exude.

Film is not well developed in Vietnam, and in the past Vietnamese films have received little attention. When you think of movies about Vietnam, you can't help but think of the American classic Forrest Gump and the exotic romance of The Lover, which is set in the lens of Duras, but the storylines of these movies have nothing to do with Vietnam, which is just a backdrop for these exotic movies. Vietnam is just the background of these exotic movies. Unlike the smoke-filled, poor and backward Vietnam in other films, French-Vietnamese director Tran Hero uses his camera to show us a colorful, soft and quiet Vietnam. The sunlight pouring down from the trees, the leafy banana trees in the Chinese courtyard, the charming kapok flowers, the verdant green papaya under the trellis ...... Apart from colonization, apart from war, apart from poverty, the Vietnam of this place, with its unique poetry and breathtaking breath of life, is just like a Vietnamese girl in Ao Dai exuding a light fragrance of oriental femininity. The light fragrance of the Oriental woman.

As a Vietnamese in a foreign land, Tran Hero, with a sense of nostalgia for his homeland, captured Vietnam in his lens as beautifully as in his childhood dreams. However, while depicting the beautiful and dreamy memories of his hometown, he still pays attention to the social reality of Vietnam, portraying the cruel and hideous reality of Vietnamese society, focusing his camera on the streets with stench, violent gangsters, and other underclasses of the Vietnamese society, thus triggering people's thinking about the reality. In his most famous "Vietnam Trilogy" - "The Taste of Green Papaya", "The Pedicab Driver" and "The Taste of Summer", Tran Hero has always been persistent in writing his emotions and feelings towards Vietnam, from the quiet daily life of aesthetic illumination, nostalgia and anticipation, to the poetry-like From the aesthetics of quiet daily life, the poetic language of nostalgic expectation, and the sometimes light and sometimes somber poetic metaphors, Tran Hero expresses the unique oriental cultural flavor and oriental philosophy of his films, forming his distinctive personal style.

Second, the film style of Chen Hero's director

One Character: Ordinary People and Oriental Women

The historical theme and the passionate greatness of Chen Hero's films have never been the theme of his works, there are no heroes in his works who are looked up to by the public, but only focus on the ordinary people in the reality of life, because in fact, these humble but resilient characters are the real protagonists in life. The truth is that these humble but tough characters are the real protagonists in life. For example, Mei, the maid in Taste of Green Papaya, who always has a satisfied smile on her face, the "pedicab driver" who still has warmth in the midst of sharp and harsh situations, and the three sisters who have suffered from painful marriages but live with ease, all these characters are ordinary people in life, and their most realistic daily lives are the simple and plain warmth of life. Chen Hero's works embody the style of new realism movie, he pursues the simple and tough atmosphere of life, he always focuses the camera on the life situation of ordinary people in reality, and interprets his own oriental philosophy of handling things from the attitude of the small characters towards life. In <>, Mei quietly watches all the sorrows and joys that happen in the courtyard, always with a satisfied smile on her face; in <>, the trike driver who silently stares at violence and death; in <>, the three sisters who calmly dissolve all the family contradictions and secrets and cover them up, all of them are interpreting the philosophy of Chen Hero's transcendent perseverance in the face of all life.

Hero Chen is not only willing to target ordinary people, but also celebrates the image of the tough, tolerant, stoic, calm, and serene Oriental woman in his camera. In his works, men are feminine and weak, while women are the masters of life: firm and intelligent, calm and patient. The images in his films reveal his attachment to this kind of women all the time. Mei and Mei's mistress in The Taste of Green Papaya, the sister and the boss's wife in The Pedicab Driver, and the three sisters in A Taste of Summer are all Oriental women with distinctive qualities. In these films, Chen Hero's appreciation and praise of women is precisely a transformation of his infinite nostalgia for his childhood home. The soft, tolerant, persevering, calm and introverted oriental character of these women embodies the ideal image of oriental women in the creator's mind. At the same time, he used this reverence and praise silently *** male cowardice and irresponsibility in a patriarchal society.

Two plots: the interweaving of warmth and cruelty

Tan Hero, a wanderer who has been away from his country for many years, starts from the Western world's expectations of movie-going, and combines them with his own cultural traditions and self-consciousness of culture, breaking through the Western world's subjective monopoly of speculation and imagination about Vietnam, and showing the world through images the tradition and modernity, warmth and cruelty, hardness and softness of Vietnam. In his own way, Tran Hero recalls the past of his country, gazes at the present, and is y concerned about the bright future. The intertwining of warm past and cruel reality, all the dampness, gloom and mania in his movie are calmed by Hero Chen's poetic composure and transcendental mind. Using silence to calm the pain, letting the warmth intertwine with the cruelty.

As in The Taste of Green Papaya, the camera pans upward from Mei, the heroine who reads happily in a gold-colored, high-necked gown, to the appearance of a serene Buddha statue. Here, Hero Chen describes another concept and ideal with nature and harmony, purity and peace. He enters the highest realm of spirituality with an absolutely silent mind: absolute freedom. After the dual constraints of time and space are dissolved, logic and rationality have become burdensome, and there is no more jostling for material desires and fame, so he finally realizes the meaning of existence and spiritual pleasure.　At the end of the movie "The Pedicab Driver", on New Year's Eve, everything has changed overnight, and life has returned to its former calm. The camera skims over the broken walls outside, turns to the tennis court and swimming pool within the high walls and the people in it, and then returns to the suddenly sunny city streets outside, where the pedicab driver glides forward on his brand new pedicab full of his family's happiness amidst the crowds of people, and then the camera gradually rises up to show a group of children learning to play the piano in the classroom. The seemingly abrupt ending makes one ponder, what is it that makes these ill-fated people so peaceful in the face of suffering, what is it that makes them fall into their own place in the chaos of bouncing around? Obviously, this is a silent state of existence, not the usual desperate blood and tears, but belongs to the meaning of life on the way home faint sadness, but also know where it comes to know the end of the peace of God.

The youngest of the three sisters in A Taste of Summer, Lian, goes out with her brother to prepare for their father's anniversary, echoing the two of them at the beginning of the movie, when they go out to prepare for their mother's anniversary, and even the distant sound of the bells that come down the line is the same, as if all the entanglement of love and desire had never happened. Instead of indulging in the catharsis of life's pain and social anger, the director ends the movie in a romantic style, which is undoubtedly an image of the aesthetic ideals and thinking consciousness of the East, especially Confucianism. Love and death, happiness and pain coexist at the same time, everything is self-generated and natural. In the brilliant sunshine, and then dark and then hopeless life, and then sad and then horror of the course, are able to human heart and the love of life will embrace it.

This is in fact the way of life of Hero Chen. From the statue of Buddha to the sound of bells, it has long hinted at an Eastern-style fulfillment. Such a poetic description, non-linear writing, this compassionate sentiment, this spirit of enlightenment transcends the reality of suffering, making Chen Hero's movie somber but not heavy, depressing but not despairing.

Three images: the combination of painting and poetry

Hero Chen's movies are full of poetry, and he is more like a poet who transforms the stories in his heart into elegant words, showing his movie images as gentle and meticulous as poetry. The influence of oriental poetic colors on Chen Hero's visual images is very deep, and Chen Hero is very good at replacing the language of the characters with images that are aesthetically subtle and profound, conveying unspeakable beauty with beautiful visual images and poetic atmosphere, and conveying infinite charm within a limited image. For example, in his works, he deliberately uses original depictions to show the natural poetry of rural life, using highly saturated color images and slow-paced panning shots to show every delicate detail of the environment and characters, so that every simple action of the characters reveals a simple and natural charm, and the camera lets a kind of praise and poetry always overflow in it. In the movie <>, there is a quiet and natural poetic mood flowing through the rustic courtyard and other situations, which picturesquely expresses the natural state of life, such as the green leaves that move with the wind, the papaya tree under the sun, and the old stone slabs, and so on.

Three, the Oriental culture in the Chen hero film show

Chen hero calm and cool Oriental philosophy and Western art film personality consciousness, the form of thinking based on imagery, often take symbols, metaphors, through the smooth language of the film perfectly integrated with each other and presented perfectly, so that the film for the reality of the revelation of the world and the sermon submerged in the unostentatious poetic mirror language, the natural richness of Oriental philosophy in the film, the film is a very important part of the film. In the film, the revelation of reality and the preaching of worldly affairs are hidden in the poetic mirrors without being ostentatiously expressed, and the oriental philosophy is naturally embedded in the work, forming the unique style of Chen's films. The political background and educational significance of the film are hidden in the poetic shots, and the traditional concepts of the Orient, the karmic colors of Buddhism, and the Taoist idea of inaction are naturally blended together, as Hero Chen narrates his emotions with his own oriental philosophical concepts, and at the same time interprets his own ideals of the Oriental culture with the Vietnam of his own mind. For example, in "The Pedicab Driver", the two states of life, which are opposites, the gloomy and manic restlessness in the face of suffering and the calmness and serenity in the face of helplessness to calm down the pain, are elegantly blended together in Hero Chan's movie world. The Oriental's supreme pursuit of the realm of life is to write the feelings of entering the world with the transcendence and calmness of exiting the world, and to keep a normal and tranquil state of mind at all times, and to deal with the world with a sense of calmness. In his films, Hero Chen directly uses clean, bright and simple movie images to shape the sense of movie viewing, and expresses the sense of nature and life in a quiet and peaceful mood, giving the images a unique humanistic concern, which also reflects the Taoist thinking of Hero Chen's thought based on tranquility and emptiness, and the Buddhist thinking based on the idea that everything is empty.

The cultural background of the Orient and the influence of Western culture give Chen Hero a unique perspective and point of view when observing Vietnam. At the same time, the different understanding of culture and the mixed nature of the local complex also make the cultural connotation and historical accumulation in his works far more than the expression of a single ethnicity and the manifestation of extreme regional coloration, so as to obtain a greater cultural compatibility and a worldwide hidden space of cultural freedom, which is the best way for him to express himself. The hidden space of cultural freedom is his ability to tell a brand new Vietnam from a unique perspective, digging out the other side of Vietnam that is unknown to the world. Hero Tran has made the spirit of traditional oriental arts to be carried forward in the most modern art form of cinema. His films have won many awards internationally, and have been well received in Vietnam, except for the accusation of "showing too many dark sides". All this shows that he has not only mastered the language of international cinema, but also grasped the lifeblood of his own national culture.

All in all, Chen's background in Eastern culture, and his later education in Western culture, allowed him to fuse Eastern and Western cultures and seemingly unrelated things into one, which became the highlight of his films. Like Abbas in Iranian cinema and Hou Hsiao-hsien in Taiwanese cinema, Tran Hero became a great flag of Vietnamese cinema that fluttered in the wind. Although his works have been criticized by a few people for "showing too many dark sides", this does not negate the fact that Tran Hero has perfected the art of cinema, especially the interpretation of oriental art. The fact that his films have won a lot of awards in the international arena shows the artistic value of his works. With his keen artistic sensibility and genuine feelings for local culture, Chen Hero has given his films a strong oriental color, weaving a soft and delicate oriental fairy tale. Tran Hero skillfully combines Eastern and Western cultures, fusing the nutrients from the world's cinematic art with the spirit of traditional oriental art, showing a different Vietnam to the world and exploring the form and style of oriental philosophical cinema with a modern meaning. The sense of oriental art expressed in his films still shines in the long history of cinema.

[References]

[1] Zhu Li-yuan. Contemporary Western Literary Theory [M]. Shanghai: East China Normal University Press, 1997.

[2] David? Coppercoll. Film and Television Directing Techniques and Aesthetics [M]. Beijing: Beijing Broadcasting Institute Press, 2004.

[3] Li Xianjie. Film Rhetoric [M]. Beijing: Culture and Art Press, 2005.

[4] Jin Danyuan. Postmodern Context and Aesthetic Culture of Film and Television [M]. Beijing: Xue Lin Press, 2000.

[5] Jin Dan Yuan. Introduction to Film and Television Aesthetics [M]. Shanghai: Shanghai University Press, 2001.

Part II

The Composition of Color in the Character Design of the Film "Hero"

[Abstract] The development of the film and the application of the color art design in the film are constantly promoted and penetrated. In the process of artistic design of film and the process of dissemination and distribution of film, the color art design of film plays a crucial role. The color design of the film has a strong promotion effect on the planning and depth of the character scenes, and it also improves the implementation of the film art. In addition, the color design of the film itself also has a good role in enhancing the color design art industry. This paper mainly takes the famous director Zhang Yimou's movie "Hero" as an example, and analyzes in detail and in depth the composition of color art design in the movie character scene.

[Keywords] film; color art; character scene; relationship; composition

Film is the director and other creators of the film to play the subjective initiative, in order to express a kind of self-emotions and views on the objective things, that is, "the body of things to give feelings". The language of film is very different from the language of art in general, because the film is filled with a large number of images, and color undoubtedly occupies a very important position in the images. Wang Guowei once said, "I am in a state where I see things as I see them, so everything is colored by me". The application of color in the character scenes in the movie "Hero" can be said to be well versed in this way, and the use of color in the movie can be called bold and marvelous. The film "Hero" flexible use of film color this "props", cleverly complete the film's narrative, emotional expression to stimulate the audience's emotional world, the impact of the audience's visual nerves, the color is complex, but without losing its innocence and the theme of the heavy colors, but the most elegant, to show the Zhang Yimou-style film of the art of the gorgeous.

I. Definition of film and color design

Definition of film

Film as a comprehensive work of art, it is a variety of art forms are integrated with each other, *** with the development of the crystallization. Film, in China's "Dictionary of Contemporary Chinese" is explained in this way: a comprehensive art, with a strong light to film the image of the continuous projection of the image of the screen, looks like the image of the real activities. 1872, the film first appeared in the beginning, into the budding period, and from then on to further development, maturity and "a hair out of control". So far, the movie has been 137 years, and during this period of time the artistic connotation and art form of the film continues to evolve.

Definition of Color Design

Color design, in the common sense, is the combination of colors. In the world of nature, colors are complex and colorful, and color design is a reasonable combination of different colors for a perfect and more beautiful color. In the color design, the color scheme of the color is strange and ever-changing, but we use our vision, use our eyes to observe the environment we are in, the first thing that breaks into our eyes is the color, the magician of nature, which produces a variety of visual effects, bringing us different visual enjoyment and visual feast, which directly influences our aesthetic cognition, emotional changes and even the fluctuation of life and work conditions, efficiency and so on. It directly affects our aesthetic perception, emotional changes and even life status and work fluctuations, efficiency and so on.

Second, the movie "Hero" in the character scene composition of the color analysis

As we know, every picture of the film is composed of color, color has become an important art form of the film. As China's fifth generation of film directors in the brightest star - Zhang Yimou, in his film, the play of color art can be said to be the peak of the point, to borrow an ancient Chinese poem to describe Zhang Yimou's application of color is "light makeup and thick smear is always appropriate", which is indeed a little bit of a good thing. "This is indeed not an overstatement. His film in the application of color can be said to have created a magnificent "color feast". Zhang Yimou used highly creative colors to enhance the artistic effect of the film, constituting a unique color art of the film. So as Zhang Yimou color application of the best work - the film "Hero" in the color composition design, Zhang Yimou and how to use its ingenuity and design inspiration? It is mainly reflected in the following four aspects, namely, the color matching of the characters' costumes in the movie, the color configuration of the movie scene space, the color combination of the main storyline, and the color composition of the whole film's time and space passages. We only color art design in the film "Hero" character scene composition for in-depth and detailed analysis, as follows:

In the film "Hero" in the composition and configuration of the color design in the character scene in the lens of the composition and configuration of the performance of the main two categories, one is, through the artificial construction of the film scene for the application of the scene of the spatial color collocation, and the other is, purely natural, from the natural spatial environment of the scene of the color collocation. The other is the purely natural, taken from the natural space environment of the scene color matching and setting.

Artificially constructed for the application of movie scenes scene space color matching

In the movie "Hero", artificially constructed for the application of movie scenes scene space color matching mainly has the Qin Palace, chess museum, library, the Broken Sword Room, and the Book Pavilion of the five space scenes. In these five spatial scenes, the color art design can be described as bold and dynamic.

The main color of the Qin Palace is black, whose meaning is self-evident, symbolizing both the supreme imperial power and the inaccessibility of the overbearing, but also symbolizing the Qin Shi Huang's brutality and viciousness, but also to a large extent, also suggests that the film "Hero" of the tragic end and the hero's condolences; but in addition to the black and the stars dotted with greenery in the embellishments, the main significance of the color, according to the author's research is to symbolize the Qin Shi Huang's cruelty and ferocity, but also the color is the main meaning of the color. According to the author's research, this color is a symbol of Qin Shi Huang's brutal rule of the people's heart, after these Zhao swordsmen assassinated the Qin after the successor of those who come and go, the rebels will be endless.

The chess house is also largely in keeping with the tone of the movie, which is sad. The main colors of the chess house are black, white and gray-black, this color combination not only in a large sense in line with the characteristics of the chess house itself - black and white, reflecting the Haoqiankun, the vast expanse of the earth should be in harmony with the eight trigrams of the meaning of the film's tragedy, in a sense there is also a sense of wrestling with the meaning of the idea!

The movie is a great example of how to make a movie.

The main color of the library is bright red. Red in the traditional Chinese meaning of vitality, with a sense of joy, but at this time, in the surroundings of the environment are all dark tones, black or white environment, the sudden appearance of red is anomalous. In the movie "Hero", the symbolism of red can be said to be clear, bright red color, bright red blood sprinkled all over the bookstore, giving people a sense of extreme depression and sadness, foreshadowing the tragic end of the movie.

The Broken Sword Apartment and the Book Pavilion are the two most vibrant scene color schemes in the scene space color scheme artificially constructed for application in the movie scenes, which are red, green, and red, blue, and white respectively. In Chinese traditional color matching, red and green matching has always been a kind of "taboo", but in this movie "Hero", it is bold to red and green cleverly applied together, together sketched out the color picture of the disabled sword room, which is very easy for us to associate with the incompatibility of the red and green, and it is this incompatibility then Subtly reveals to the audience a kind of resistance and confrontation, a kind of incompatible situation; then the use of red, blue and white colors in the Book Depository Court for the application of artificial construction of the movie scenes in the scene space color collocation can be said to be the most complex, but also indicates the complexity and contradiction of the characters in the movie plot and character psychology, and at the same time, "black" and "red" and "black" are the same as "red" and "black", and the color of "red" and "red" is the same as "black". Black" and "red, blue, white" are not only symbols of a country, but more importantly, they are used to emphasize Qin's ambition to devour the weak and unify the whole country by emphasizing the "blackness" of iron. "Red, blue, white" in the three colors of red especially to highlight the Zhao swordsman, swordsman sworn to defend the homeland, the national hatred of the national humiliation, a kind of iron clenched oath, a determination to assassinate the king of Qin's firm stance and beliefs. Nameless "kung fu ten years", practiced "ten steps a kill" stunts, single to the meeting, directly facing the King of Qin, as if death; the long sky, broken sword, Flying Snow and other chivalrous, are willing to give up their lives, to help Nameless assassination success.　Movie "Hero" in the outdoor scenes of the color using highly enhanced monochrome configuration, configuration so huge set of large, so meticulous design, calm, so firm beliefs, so pure of heart. We through the previous several outdoor scene color design, it is easy to find artificial construction for the film scene application of the scene space color is basically a single solid color, according to the author's understanding, the creators of the application of a solid color color is the cultural concept of the level of calm rational thinking and artistic design on the sublimation.

Purely natural, from the natural space environment of the scene color matching and setting

Purely natural, from the natural space environment of the scene color matching and setting mainly refers to the external environment, such as golden and red poplar forest; such as white water, green mountain waterfalls composed of alpine; such as yellow sand and blue sky composed of Desert Sand; such as blue sky composed of green mountains and blue lakes; such as green mountains and blue sky composed of green lakes; such as green mountains and blue sky composed of green lakes; such as green mountains, blue sky composed of green lakes; such as green mountains, blue sky composed of green lakes; such as green mountains, blue sky composed of blue lakes; such as green mountains, blue sky composed of green lakes. The emerald-colored flat lake; and then the golden land and blue sky composed of barren loess mounds, and so on.

In the traditional Chinese consciousness, yellow is the typical color of the earth, and the yellow earth represents China to some extent. Therefore, in the movie "Hero", the application of yellow and loess color in a large area and to a large extent makes the movie "Hero" have a national sentiment in itself and at the same time increase its national sentiment and national cultural characteristics. Yellow, as we all know, has the connotation of "radiance", and in the movie "Hero", it implies the noble character and the profound emotion of the hero. Just as in the ancient Chinese saying of "Yin and Yang", yellow is the central color, which corresponds to the most important part of the human body - the heart, then coincidentally, in the "five qi", "yellow" is the central color, which corresponds to the most important part of the human body - the heart. In the "five qi", "yellow" also symbolizes "and", so we Chinese people see the color of the earth - yellow, as a sublime and supreme color.

Green, green in the West, more in the wedding dress, symbolizing the meaning of more children, then green in China symbolizes the rebirth, the meaning of life unceasingly, in the movie "Heroes", the yellow "in" and "and" symbolism! In the movie "Hero", the symbolism of yellow "in" and "and" and the clever conception of the broken sword, Flying Snow's green clothes, indeed, to some extent, reflects the coincidence of similarities and differences, is a cultural echo and philosophical contemplation of the movie film.

We transferred from the green field to the blue sky, see the broken sword himself from "vow to kill" to "block kill" the performance of the king of Qin, but also a kind of hero's wisdom and calm thinking; Desert Flying Snow and the nameless in the Qin army in the challenge of the killing, are The desert Flying Snow and Nameless in the Qin army challenge to kill, are not yet accomplished and body fall, death is good, and finally to the "small life" individual, tiny groups of destruction in exchange for and to meet the "big life" of the world's imminent birth of the unity.

The colors of the interior scenes of the movie Hero are mostly primitive and natural, derived from the spontaneous colors of nature.

In terms of the film "Hero", from the director Zhang Yimou in different scene space using different color configuration and design, we clearly found Zhang Yimou color design of the creative thinking: in the indoor scene space color design, most of the purely subjective capitalist color performance; and in the outdoor scene space color design, more natural natural design is borrowed from a kind of ghostly work. The original natural color. Therefore, we say, Zhang Yimou's film "Hero" in the use of color can be said to be the peak of excellence, with extraordinary pen.

Three, conclusion

Movie is a visual art as the main mode of expression, so for a good movie, its visual aesthetics must be strong, so that the audience from the movie to enjoy, feel comfortable. For the description of the picture, the color accounts for a large part, and Zhang Yimou's application of color can be said to be an extreme, "light makeup and thick smear is always appropriate", in his film color, we can perceive the meaning of the color itself and the director of Zhang Yimou to express the emotions and ideas. As a classic work of Zhang Yimou's application of film color, the movie "Hero" is a feast of color, and he achieves the effect of fullness of characters, harmony of the picture, completeness of the narrative, and fullness of emotion through the treatment of folk colors, color details, and simple colors. The film "Hero" picture colorful, meaningful and far-reaching.

[References]

[1][]Shing Ichio. History of Color [M]. Hangzhou: Zhejiang People's Fine Arts Publishing House, 1990: 160-162.

[2] Yu Peimin, Yang Yongjun. Light Makeup and Thick Smear: An Analysis of the Color Art of Zhang Yimou's Films[J]. Journal of Fuling Normal College, 2004.

[3]Chen Huan, Yuan Xiaohua. The Interpretation of Red - On the Use of Color in Zhang Yimou's Films[J]. Journal of Hangzhou Normal College, 1994.

[4]Wang Kaiqing, He Peihua. The use of the three elements of color design in movie posters [J] Packaging World, 200911.

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