1. Review of the film’s return scene

Lens language is another aspect that Zhang Yimou has subtracted from in this film.

This is especially true for close-ups. Looking at the entire film, you will find that the director uses very few close-ups in the first half of the film. However, Zhang Yimou did not reduce for the sake of reduction, but achieved precise and targeted effects, maximizing the effect of every close-up shot.

The first close-up shot in the movie is a close-up of Dandan’s last movement in the dance studio. Dandan’s expression at this time in the shot reflects a kind of contrast. The determination to "revolution" and the pursuit of the role of Wu Qinghua also reflected part of Dandan's character from the side, leaving a foreshadowing for later exposing his father. There are two other close-ups in the first half that play a role in promoting the later plot of the film.

The first is a conversation between mother and daughter about their father after they returned from the dance studio. When she heard her daughter Dandan say that her father was a capitalist roader and did not allow her mother to see him.

After the mother was silent for a while, she threw the dancing shoes on the table angrily. Although the mother did not say a word during the whole process, the audience could learn the mother's attitude towards the matter from this highly suggestive close-up shot.

It also paved the way for her mother to later meet her father, Lu Yanshi. Moreover, it is through this lens that the mother's character is reflected in the entire film, and the character image begins to gradually become fleshed out.

The second is the scene after Lu Yanshi returns home. Lu Yanshi knew that his wife Wanyu was at home, so he opened the door of the room with great expectation. However, here, the close-up of the camera showed that the door was not opened.

The effect of this special shot not only explains the reason why Wanyu never locks the door when going out, but also shows that Wanyu's inner guilt and the psychological reasons for her subsequent illness are an inevitable metaphor. 2. Film review analysis of scenes in No Man's Land

Popular Film Critics Network's "No Man's Land" film review: See how Ning Hao creates the tension in the shot

This is what Popular Film Critics Network is about Review of "No Man's Land" to see if it's what you want.

See how Ning Hao creates the tension in the camera

The audience has been looking forward to "No Man's Land" for a long time. Since the filming started in 2009, the film has gone through the stages of being expected to be released, being canceled, The process of refuting rumors, being killed, expected to be released and then being killed and released again.

Finally in December this year, "No Man's Land" met the audience in theaters. The film is a highway theme with a desert background. Just like the movie "Bumpy Road", Xu Zheng, as the protagonist of the film, also experienced the process of starting on the road, stopping, starting on the road, stopping again, fighting, starting on the road again, and stopping again... on the road.

Since it is a road theme, tense fighting scenes are essential. A large number of see-saw confrontations in the film are carried out rhythmically:

Close-up - tranquility - explosion, and so on.

At the beginning of the film, the camera is scanned to give close-ups of details, including the feet, hands, and smoke supported by the iron frame, and Huang Bo appears. Not long after the opening, an animal died, pushing the explosive point even higher, but the audience still didn't know what was going on. The suspense was used to attract the audience to continue watching. The temperature continued to rise, and the car began to crash and overturn during the conversation between Huang Bo and the police. The narrative was relaxed and relaxed, but it also gave the audience a visual impact. After the car rolled over with a bang, the scene was deathly silent: people were on their backs, the car was overturned, and it was a mess.

At this point, my nerves finally became tense, but the narrative began to relax and proceed slowly.

At the same time, the director also paid special attention to using light to create the atmosphere. In the conversation between Xu Zheng and the person involved, not many elements can be seen in the dark scene, and all the attention is focused on the expressions and dialogue of the two characters. When the camera just switched to the scene in prison, all we could see was Xu Zheng's confident expression when talking, which controlled the rhythm of the whole room just like his aura in court. The client cannot see his face in prison, and his personal information can only be judged from his voice and conversations. Then the client stretched his face forward, and the light from the high-walled window hit half of his face. Only the defendant's evil smile was visible. This way of setting up the suspense once again attracted the curiosity of the audience.

Director Ning Hao uses a large number of detailed close-ups, a combination of frozen and shaking shots, braking, speeding and braking like a bus on the way to work, creating a sharp contrast and telling the story. For a moment.

Ning Hao is also particularly good at using sound to heighten the atmosphere of the story. The rapid progress in the film is accompanied by sonorous drum beats, and when entering the desert shop, a weird and playful soundtrack plays, which makes people fascinated. When I feel nervous, I can't help but ask "What are you doing?" The meaning of the question is not only to set up suspense, but also to express the dissatisfaction of "Why doesn't it explode?"

Compared with Ning Hao's usual fine cuts and exaggerated comedy, the film adds more black elements and violent elements, and the technique is more honest and traditional. 3. Looking for a review of "The Killer Is Not Too Cold", please describe the four scenes of the film: far, full, middle, near and near.

When I saw Leon walking towards the exit, I saw the light, as if I was seeing The happy life of Leon and Matilda was ruined, but at the same time, Stan stretched out his sinful black hands from behind Leon.

Leon used the "Ring Game"... It was impossible to guess whether Leon's expression was relief or reluctance to leave Matilda. It seemed that Leon's expression became richer at that moment.

"Is life always so painful? Or is it only true for children?" "It's always like this." Opening the door of memory, the scenes of the past seem to be illusory and real... There is sadness, there is happiness, There is love, there is hate, sour and sweet, accompanying us through our youth.

Some of these things and some people we thought we had forgotten long ago, but when we look back suddenly, we inadvertently discover that they have never really gone with the wind, but have always been hidden deep in our hearts, listening. Accompanying our heartbeats, accompanying our breathing, guarding our memories. For example, first love... First love, such a warm and beautiful but slightly sad word.

It represents the dreams of our youth, the madness of youth, and the sentimentality of the old days that can never be returned. Maybe that innocent feeling has long been a thing of the past, and he/she may not necessarily be the person we love most in this life, but no matter who it is, they must not be able to forget that first beginning, and the inexplicable beating of the heart at a certain moment... ... Although time flies by like a white horse and we can never go back to the past, fortunately there are still movies.

In the vast sea of ??shadows, those sad and melancholy or romantic and warm love stories about first love are like the gorgeous fireworks blooming in the night sky. Each petal tells the story of the leisurely past that we seemed to have known each other, and each petal is recalling the past time that we have had together.

"Is life so hard to begin with, or is it only childhood?" Matilda, a 12-year-old girl with prematurely mature and vicissitudes of eyes, asked Leo blankly. . "That's how life is."

Leo's eyes were covered by sunglasses, and he couldn't detect any emotion. Leo, who came to the United States from Italy, is a very ordinary little person when he is not killing people. Killing is just a means for him to make a living.

But when he meets Matilda, his life begins to change. Matilda witnessed her most beloved brother being killed by her enemies. Revenge has always been her desire.

(Excerpted from the foreign edition of "A Lifetime Reading Plan") The character of Leon is the source of my emotion. This killer has many external qualities that are consistent with the temperament of the killer we imagine. He is agile and skillful, has sunglasses, a windbreaker, a suitcase, and is taciturn...employed by a fixed employer...In short, we The image of a killer can be reflected in Leon. At the same time, there are many different qualities: drinking milk in the morning, carefully raising a pot of plants, watering them regularly, and running to watch "Singin' in the Rain" , showing a naive smile, having a fixed daily routine, exercising, and being strict with himself. "In a sense, Leon is a simple tool, a killing tool, but it is not a simple symbol. He has his own His life is simple but orderly."

He lives in his own little world, and is no different from an ordinary person except for killing people. It wasn't until he met Matilda that he was completely broken. life order. Luc Besson wrote a killer elegy. In this elegy, what we see is the whole process of human nature from annihilation to recovery. Leon was happy at the last moment, with a smile on his face. He did What he always wanted to do.

Fan comments on imdb (for reference only) The film opens with a wonderful assassination operation, which fully expresses the ruthlessness of a killer. The killer Leon is carefully deployed and executes the operation calmly and fearlessly. This also paved the way for the director to deliberately show Leon's true side later.

The two brief conversations between Leon and the little girl Mathilda on the stairway were the beginning of the intersection of Mathilda and Leon's lives. Mathilda's family was brutally murdered by the dark anti-narcotics police. She survived by relying on her cleverness, and started a different life with Leon.

Their feelings of being both father and daughter, teachers and friends, which seem to exist but not exist, are very touching. Leon felt the joy of life because of Mathilda, and Mathilda had family-like warmth and care because of Leon.

The director of "The Killer Is Not So Cold" is the famous French Luc Besson. The film is full of artistic atmosphere, and even the murder scene is as unique and beautiful as the work of art. In the film, the director expresses more criticism of some ugly things in reality. For profit, the police can become murderous gangsters, and they massacre wantonly under the banner of justice.

And Mathilda’s family, which had no affection at all, eventually lost their lives because of their greed. The music in the film is also well-produced, and the theme song "Shape Of My Heart" is performed by veteran singer Sting. Such a beautiful melody highlights the true meaning of the story and has the effect of making people cry.

In the film, when Leon puts on his pair of sunglasses, he becomes a completely different person, a machine that performs killing tasks. However, the reclusive Leon leads a boring life without wearing sunglasses. , accompanied by a rootless evergreen tree, with a simple expression a bit like Mr. Bean. There is a relatively warm and eye-catching scene in the film that runs through the entire movie, that is, the killer Leon in long robes and suspenders always holds a green bonsai in his arms. Even if he wanders around and is on the run, Dieffenbachia is always close to my body.

On the surface, Leon is just a ferocious animal. He wears eye patches and black glasses, is taciturn, carries an old box, holds a evergreen in his arms, walks hurriedly with old trouser legs and big leather shoes, and dedicatedly completes his personal scavenging task. . What we can see from the film is that the quiet Leon, who has not done much action, still has his own code of conduct as a cold-blooded professional killer.

First of all, he will never kill women and children indiscriminately. Of course, killing someone is always an unusual thing.

Here we are still talking about movies. In normal broad daylight, if you kill someone, you will be punished with your life.

A movie is a movie. I have always thought that the film "The Killer Isn't Too Cold" is not very innocent.

While it is indeed a killer movie, it is also a movie that tells more stories about killers. 4. Film criticism of Zootopia regarding scenes and montage

"Zootopia": Beautiful Utopia

Text/Dream Poetry Book

Good at creating Disney, the dream, once again presents a beautiful utopian world in "Zootopia" with its unbridled imagination. In this city where animals get together, there are not only burdens full of joy, but also discrimination in the real society. The profound irony of prejudice undoubtedly best integrates fairy tales and reality, and builds a golden and beautiful interior that is even more beautiful on the outside.

When Disney animation has become technically perfect, how to outshine its predecessors in terms of plot has become the real goal that Disney has been pursuing in recent years. "Zootopia" can be regarded as a What’s exciting is no longer the stunning animation special effects, but the plot structure that is coherent and step-by-step. In a metropolis filled with all kinds of naive and cute animals, the movie unfolds with a criminal conspiracy rendered with excellent comedy. The suspense with several twists and turns is extremely perfect even as a non-animated movie. This undoubtedly makes the audience integrate into the anthropomorphic animal world view at the first time. The creation of each happy point maintains the high-energy Hollywood fun of the entire film.

The animation technique of animal anthropomorphism in "Zootopia" is not only superficial, it is also integrated into the characteristics of each animal itself, such as the lion mayor, the African buffalo police chief, and the cheetah police officer , each animal has its own character creation that fits its own animal nature. It is in this animal world view that is proficient in details. As the first rabbit police officer in the history of the metropolis, naturally no one believes that Judy, who is petite, can As a good policeman, Nick the fox was accidentally involved in the case. No one would believe a cunning fox. The solidified prejudice has become the most powerful moral proposition of "Zootopia", and the movie is based on this. This prejudice has repeatedly created laughter that makes people laugh.

The plot concept of "Zootopia" is not that the characters preach equality and non-discrimination, but that this proposition is integrated into the plot from beginning to end, with the protagonist police officer Tu Zhu The racial encounters between Dee and Fox Nick serve as a metaphor for the various prejudices and discrimination in modern society. The meaning of breaking the inherent thinking and prejudice is truly implanted in each character, and the problems faced by prejudice and discrimination in real society are brought to the fore in an interesting way. The movie is not only It is limited to children, but adults can gain insights from this movie. "Zootopia" has planted the seeds of equality and tolerance in the hearts of every audience.

The whimsical Animal City, the cute and hilarious journey, there is no beautiful utopia in this world, but when everyone can have an equal heart, what is wrong with it? It will be a "Zootopia". 5. Please provide a 2000-word analysis of the scene processing in the movie "The Story of Hachiko"

Judging from the trailer, although "The Story of Hachiko" was produced by an all-Hollywood team, the location shooting was also In the United States, it has produced the unique warmth and timelessness of Japanese movies.

Compared with the hilarious style of the American love-dog movie "Marley and Me", "The Story of Hachiko" is more tear-jerking. Director Lese Hallstr?m said with a smile: "I hope the movie is warm but not sentimental, so it avoids a lot of bloody scenes.

Because I want it to be a comedy, not a comedy. There should be too much emphasis on sadness, but a simple presentation of the friendship between humans and dogs." Despite this, when Richard Gere received the script, he was moved to tears by the plot of the story, and he cried again and again.

He said: "I originally thought that I cried because I was too emotional, but when I watched it again a few days ago, I still cried." 6. Please give an example of the impact of the use of different sceneries on film style.

Scenery is a unique means of expression in film and television.

The division is determined by the size of the adult in the picture and the part of the adult cut off from the bottom of the picture. Our country’s film and television scenes can be roughly divided into five types: long shot, panoramic shot, medium shot, close shot, and close-up. Some directors are also used to classifying it more carefully and dividing it into eight categories, namely 1. Long shot: adults occupy about 1/4 of the height of the screen; 2. Long shot: adults occupy about 1/2 of the height of the screen; 3. Panorama: the whole body of the human body ; 4. Medium shot: above the person's knees; 5. Medium close shot: between the close shot and the middle shot: 6. Close shot: above the chest; 7.: above the shoulders; 8. Close-up: face and body parts. Different scenes have different functions. There are three factors that affect the size of the scene: shooting distance, focal length of the optical lens, and depth management of the characters. In our country, the distant view series is called Dajingbie and the close-up series is called Xiaojingbie. The change of scenery means the change of the audience's visual distance. Not only that, it is also a powerful means for the director to highlight the visual focus. Visual limitations of the audience.

Shooting angle:

Shooting angle includes shooting height, shooting direction and shooting distance. There are three shooting heights: flat shooting, overhead shooting and overhead shooting. The shooting directions are divided into front angle, side angle, oblique angle, back angle, etc. Shooting distance is one of the elements that determines the scene. The above are collectively referred to as geometric angles. There are also psychological perspectives, subjective perspectives, objective perspectives and subject-object perspectives. Choosing and determining the shooting angle at the shooting scene is the key task of the photographer. Different angles can produce different modeling effects and have the same performance function. The angle can be a documentary representation or an exaggerated representation of the great heights and tilts, which has special expressive meaning. In film and television photography creation, the angle setting should not be arbitrary, but should reflect a style. 7. Looking for a film review of "Love at the Hawthorn Tree" using montage, scenery, sound, long shots and other techniques, 1500 words

The role of decomposition and combination gives the film the ability to be highly concentrated and summarized, making a movie A film of less than two hours can be like "Citizen Kane". 2. Reflection montage. It is not like vaudeville montage, which randomly inserts symbolic images that have nothing to do with the plot content to express abstract concepts, but the things and uses described. The objects used for metaphor are in the same space and they are interdependent: either to contrast with the event, or to determine the reaction between the things grouped together, or to reveal the plot contained in the story through reflective association. Similar events affect the audience's emotions and consciousness.

For example, in "October", Kerensky came to the Winter Palace surrounded by ministers. An upward shot showed a pillar above his head. There was a sculpture on the capital, which seemed to be The illumination shrouded in Kerensky's head gave the dictator an air of supreme dignity. The reason why this shot doesn't look stiff is because Eisenstein used a sculpture in a real set, a real object that exists in a real dramatic space. He processed it without making it irrelevant to the plot. Relevant images are attractive.

3. Thought montage This is a method created by Vertov, which is to use documentary materials in news films to re-arrange and express an idea. This form of montage is an abstract form because it only expresses a series of thoughts and emotions inspired by reason.

The audience watches indifferently, creating a certain "alienation effect" between the screen and them, and their participation is completely rational. "Ordinary Fascists" directed by R?hm is a typical work.

Edit this paragraph Discussion on the theory of montage Neither Griffith nor his successors in his country thought of summarizing or exploring the laws and theories of montage. The first people to seriously explore the mystery of montage were the Soviet director Kuleshov and his students Eisenstein and Pudovkin.

Their theories in turn influenced film theorists and film artists in Europe and the United States. Eisenstein Eisenstein has a famous saying about montage theory: "The alignment of two montage shots is not the sum of two numbers, but the product of two numbers."

In the words of the Hungarian film theorist Bella In the words of Balazs, "Once the upper and lower shots are connected, the unusually rich meanings hidden in each shot are emitted like sparks." For example, in "The Country Teacher", Varvara answers "forever" followed by The shot of two flower branches on the screen has a meaning that it does not have when it exists alone, expressing the emotions of the author and the characters in the play.

Eisenstein applied dialectics to the theory of montage, emphasizing the conflict between opposing shots. For him, a shot is not an "independent thing". It can only arouse emotional feelings and understanding of the subject when it interacts with the opposing shots.

He believes that individual shots are just "images", and only when these images are combined can they form a meaningful "image". It is this "power of montage" that makes the combination of shots not a brick-laying narrative, but a "highly exciting and emotional narrative". It is the "power of montage" that allows the audience's emotions and reason to be included in the creative process. , going through the same creative path that the author went through when creating images.

Eisenstein’s insights are inseparable from the early enthusiasm for montage in the Soviet Union. Kuleshov believes that the material of a movie is just a piece of filmed footage, and the actors' performances and the arrangement of the scenes are just the preparation of the material.

He did a famous experiment in which three different clips were followed by a close-up of an actor without any expression. The first was a basin of soup, and the second was a coffin with a female corpse lying on it. , the third is a girl holding a toy. It is said that the audience thought that the first clip showed the close-up expression of wanting to drink the soup, the second clip showed deep sadness, and the third clip showed a happy smile.

This is obviously an exaggeration of the role of montage and obliterates the role of performing art. At that time, even Pudovkin said, "A shot is just a word, a concept of space, a dead object. Only when placed together with other objects can it be given the life of a movie."

Eisenstein even compared montage to hieroglyphics, saying that montage is like the word "dog" plus the word "mouth" in hieroglyphics, which is called "bark", indicating the barking of a dog. The combination of the two nouns creates a verb. Eisenstein proposed the so-called "vaudeville montage" when he was engaged in theatrical activities. After failing on the stage, he believed that movies were the venue for realizing "vaudeville montage".

The so-called "vaudeville montage" is the use of strong shots, episodes or programs, even those that leave the plot structure, to achieve the effect of grabbing the audience, so that they accept the point of view that the author wants to instill. Pudovkin Pudovkin's vision of montage is broader. He does not focus only on the contrast and metaphorical functions of montage, but treats montage as both a narrative method and a means of expression.

He stated at the beginning of his article "On Montage": "Connect the separately shot shots well so that the audience finally feels that this is a complete, uninterrupted, and continuous movement. ——This technique we are accustomed to call montage." Of course, this kind of work is not a rigid mechanical operation, nor is it a blind and arbitrary arrangement. To organize the shots into "uninterrupted continuous movement", "there must be an obvious sense of connection between these fragments." connect".

This kind of connection can only be in the external form, such as someone shooting in the previous shot and someone being shot and falling in the next shot, but more importantly, it is "a profound internal connection full of ideological meaning." ” He further pointed out that there are countless intermediate forms between the two ends of simple external connection and profound internal connection.

But in short, "there must be some kind of connection, until there is a sharp contrast or contradiction." Therefore, he also defined montage: "In film art works, various techniques are used to comprehensively display and explain the connections between various phenomena in real life."

And He believes that montage is determined by the director's talent. "This talent makes the director good at turning the latent inner connections between life phenomena into obvious and visible connections that can be directly felt without explanation." Because of this, Bela Balazs said that film is not a simple representation, but a real creation. An excellent director not only shows the picture, but also explains the picture.

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