Traditional Culture Encyclopedia - Traditional festivals - An Analysis of flowers of war's Film Criticism Lens
An Analysis of flowers of war's Film Criticism Lens
1. The stage performance begins.
At the beginning of the film, there is a wonderful stage performance. There is no corresponding dialogue in this part, but it shows what will happen through virtual confrontation, that is, the demise of the Qing Dynasty.
2. The use of lens language
In the film, director Zhang Yimou uses a lot of lens language, such as shooting Xiulian (Huang Qiusheng), who is pregnant for 7 months, to show her weakness and loneliness of being forced to wander; When she left, Hu Zhinv (), representing the reformist concept, took the initiative to bid farewell to her husband and wife, showing her tolerance and respect.
3. Introduce the status of women
This film shows that although women's status is not high, they are sometimes very tough and brave in the face of difficulties. For example, Baoqin (Zhang Ziyi), who represents the traditional concept, had an argument with Xiuying (Anita Mui) on the flight from Nanjing to Shanghai, showing her loyalty to the traditional concept. However, there are also many women in the film who oppose traditional ideas, such as Er Qiao, who actively studies, forms her own views and resolutely faces the choice.
4. Shooting skills
In the film, the director presents the "beauty" of the city of Nanjing in the lens with colorful pictures. However, in the war and contradiction, this gorgeous and elegant sparrow feather forms a sharp contrast with the hardships in the Kuroshio, and at the same time shows the important adaptability of human beings. A variety of visual techniques and lens changes are also adopted in the film, which enriches the visual experience of the film.
In a word, the film flowers of war is an excellent film in traditional culture, women's status, human complexity and so on, supported by very professional visual language and screenwriter's thoughts, and the director Zhang Yimou has a strong charm.
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