A good film review about Beijing

1. The film's return to the scene's film criticism lens language is another aspect of Zhang Yimou's subtraction in this film.

This is especially true in close-ups. Throughout the film, you will find that the director seldom uses close-ups in the first half of the film. But Zhang Yimou didn't cut it for the sake of cutting it, but he was precise and made the best use of every close-up.

The first close-up in the movie is Danny's last action in the dance studio. At this time, Danny's expression in the camera reflects a firm commitment to the "revolution" and his pursuit of the role of Wu Qinghua, which also reflects part of Danny's personality from the side, leaving a foreshadowing for the later exposure of his father. There are two close-ups in the first half that promote the later plot of the film.

One is a conversation between mother and daughter about their father after they come back from the dance studio. When I heard my daughter Dandan say that my father was a capitalist roader and wouldn't let my mother see him.

Mother was silent for a while, and then angrily threw her dancing shoes on the table. During the whole process, although my mother didn't say a word, the audience can know her attitude towards this matter from this suggestive close-up.

This also laid the groundwork for the mother to see her father Lu later. And it is through this lens that the whole movie can reflect the mother's character and the characters begin to plump up gradually.

The second is the scene after Lu came home. Yan Lu knew that his wife Wan Yu was at home, so he opened the door with an expectant messenger, but here, the close-up shows that the door was not opened.

The role of this special lens not only explains why Wan Yu never locks the door when she goes out later, but also shows Wan Yu's guilt and her psychological reasons for getting sick later, which is an inevitable metaphor.

2. Analysis of film reviews of no-man's land scenes: How does Ning Hao shape the lens tension?

This is the film review of No Man's Land by Popular Film Review Network. See if it's what you want.

See how Ning Hao creates lens tension.

The audience has been waiting for no man's land for a long time. Since shooting began in 2009, the film has gone through the process of expecting to be released, being killed, dispelling rumors, being killed, expecting to be released and being killed again.

Finally, in 65438+February this year, no man's land met the audience in the cinema. The film is a road theme set in the desert. Just like that bumpy road, Xú Zhēng, as the protagonist of the film, went through the process of starting, stopping, starting, stopping, fighting, starting and stopping.

Since it is a road theme, tense fighting scenes are essential. A large number of seesaw confrontation links in the film are going on rhythmically:

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

At the beginning of the film, a series of detailed close-ups are given through the scanning lens. Feet, hands and smoke are supported by iron frames, and Bo Huang appears. Not long after the opening, animals died, which pushed the explosion point higher. But the people watching still don't know what's going on, and the way of hanging tightly attracts the audience's onlookers. As the temperature continued to rise, Bo Huang began to collapse and roll when talking to the police. Narration is relaxed to a certain extent, which also gives the audience a visual impact. After the car overturned with a bang, the scene was silent: people overturned and it was a mess.

At this time, I finally got nervous, but the narrative began to relax and proceed slowly.

At the same time, the director also pays special attention to using light to shape the atmosphere. In the dialogue between Xú Zhēng and the client, there are not many elements that can be seen in the dark scene, and all the attention is focused on the expressions and dialogues of the two characters. When the camera just switched to the prison scene, I only saw Xú Zhēng's confident conversation expression, which controlled the rhythm of the audience like his momentum in court. The client can't see his face in prison, so he can only judge his personal information from his voice and dialogue. Then the client stretched his face forward, and the light outside the high wall hit half of his face, only seeing the defendant's evil smile. This hanging method once again attracted the curiosity of the audience.

Director Ning Hao used a lot of detail close-ups, framing, camera shake combinations, braked like a bus on the way to work, creating a sharp sense of contrast and telling stories one by one.

Ning Hao is also particularly good at using sound to set off the atmosphere of the story. When the film is in an emergency, it will be accompanied by sonorous drums. As soon as you enter the desert shop, a strange and playful soundtrack will sound, which makes people feel tight and can't help but ask, "What is this doing?" The meaning of the question is not only attractive, but also a sense of dissatisfaction.

Compared with Ning Hao's elaborate and exaggerated jokes, the film adds more black elements and violent elements, and its techniques are more frank and traditional.

3. Ask for the film review of "This black boy is not too cold" and describe four scenes in the film: far, full, middle and near, etc. When you saw Lyon walking towards the exit, you saw the light, as if you saw the happy life of Lyon and Matinda, but at the same time, Stan stretched out his evil black hand from behind Lyon.

Leon used the "ring game" ... it's hard to guess whether Leon's expression was relief or disappointment to Matilda. It seems that Leon's expression at that moment is very rich.

"Life is always so painful? Or just a child? " "All the time." Pushing open the door of memory, the past scenes seem illusory and real ... there are sadness, joy, love, hate, acid and sweetness, which accompany us through youth.

Some of these things we thought we had forgotten for a long time, but when we look back, we inadvertently find that they have never really been blowing in the wind, but have been hidden in our hearts, listening to our heartbeat, accompanying our breathing and guarding our memories. For example, first love ... first love, what a warm and beautiful but slightly sad word.

It represents the dream of our youth, the madness of our youth, and the dripping sadness of the old times that we can never go back. Perhaps that feeling of innocence has long been a thing of the past, and he/she may not be our favorite person in this life, but no matter who it is, I think we can't forget that initial beginning. At a certain moment, our hearts beat inexplicably ... Although time flies, we can't go back to the past, but there is a movie.

In the vast sea of shadows, those love stories of first love, sadness or romance are like gorgeous fireworks in the night sky. Every flower is telling about our deja vu and carefree past, and every petal is recalling the fleeting time when we were together.

"Is life so bitter, or is it just childhood?" Mathilde, a 12-year-old girl, has a pair of premature vicissitudes of life eyes. She asked Leo blankly. "Life is like this."

Leo's eyes are covered by sunglasses, and he can't perceive any feelings. Leo, who came to America from Italy, is a very ordinary nobody when he doesn't kill people. Killer is just a means for him to make a living.

But when he met Matilda, his life began to change. Matilda witnessed her favorite brother being killed by her enemy. Revenge is her long-cherished wish.

(Excerpted from the foreign language version of the Lifelong Reading Plan) The image of Leon is the source of my emotion. This murderer has many external characteristics, which are consistent with our imagined murderer temperament. He is agile, capable, wearing sunglasses, a trench coat, carrying a suitcase, and taciturn ... employed by a regular employer ... In short, our killer image can be reflected in Lyon. At the same time, there are many different characteristics: drinking milk in the morning, carefully raising a pot of plants and watering them regularly. Show a simple smile, have a fixed life schedule, exercise and be strict with yourself. "In a sense, Leon is a simple tool, a killing tool, but it is not a simple symbol. He has his own life, simple but orderly. "

He lives in his own small world, and he is no different from an ordinary person except killing people. It was not until he met Martina that his life order was completely broken. Luc besson wrote a killer's elegy. In this elegy, we see the whole process of human nature from extinction to recovery. Leon was happy at the last minute, with a smile on his face. He did what he always wanted to do.

Fans commented that the opening of imdb (for reference only) movie was a wonderful assassination, which fully expressed the ruthlessness of a killer, while killer lyon planned carefully and carried out the action calmly and fearlessly. This also paved the way for the director to show the true side of Lyon later.

The conversation between Leon and the little girl Mathilde when they met briefly on the stairs is the beginning of the intersection of Mathilde and Leon's lives. Mathilde's whole family was killed by the dark drug police. She survived by virtue of her own cleverness and started a different life with Leon.

The feelings of their father, daughter, teachers and friends are very touching. Leon feels the joy of life because of Mathilde, who has the warmth and care of a family because of Leon.

The director of Black Boy Not Too Cold is the famous Frenchman luc besson. The film is full of artistic flavor, and even the scene of killing people is as unique and beautiful as works of art. In the film, the director expressed more criticism of some ugly things in reality. For the benefit of the police, they can become murderers, and they slaughter wantonly in the name of justice.

The Mathilde family, who had no affection at all, was finally killed because of their greed. The music in the film is also well-made, and the theme song "The Shape of My Heart" is sung by veteran singer Sting. Such a beautiful melody sets off the true meaning of the story and plays a role in making people cry.

In the film, when Leon wears sunglasses, he becomes a completely different person, a killing machine, while Lyon, who lives in seclusion, lives a dull life without sunglasses and is accompanied by an evergreen tree without roots, but his simple expression is a bit like Mr. Bean. There is a warm and eye-catching focal plane in the film, which runs through the whole film. That is, killer lyon, wearing a long gown and trousers, always holds a pot of green bonsai, which is evergreen even when wandering around.

On the surface, Leon is just a fierce animal, blindfolded and silent, carrying an old box, holding evergreen, walking in a hurry in old pants and big shoes, and devoting himself wholeheartedly to the task of sweeper. What we can see from the film is that Leon, as a ruthless professional killer, still has his own code of conduct.

First of all, he would never kill women and children indiscriminately. Of course, killing anyone is not normal.

It's still about movies. In normal broad daylight, there is a price to pay for killing.

A movie is a movie. I have always felt that this movie "This Black Boy is Not Too Cold" is not that simple.

It's really a killer movie, but it's also a movie that tells more killer stories.

4. zootopia's criticism of landscape films and montage Zootopia: a beautiful utopia.

Poetry and books in literature/dreams

Disney, who is good at dreaming, once again presents a beautiful utopia world in Zootopia with its fantastic ideas. In this city where animals gather together, there are not only full of happy burdens, but also profound satire on discrimination and prejudice in real society, which undoubtedly combines fairy tales with reality in the best way and constructs inner beauty more beautiful than gold and jade.

When Disney animation has become technically perfect, how to make shine on you better than blue in plot has become the real goal of Disney in recent years. What makes Zootopia wonderful is no longer the amazing animation special effects, but the plot structure that can be achieved in one step. In a metropolis full of all kinds of childish animals, the film begins with a crime plot rendered by an excellent comedy, and there are many suspense. Even as a non-animated film, it is perfect, which undoubtedly makes the audience integrate into the anthropomorphic animal world view, the creation of multiple burdens such as gangster godfather and water-dependent civil servants at the first time, and maintains the high-energy Hollywood-style interest of the whole film.

The animation technique of animal personification is not only figurative in Zootopia, but also incorporates the characteristics of each animal. The mayor of the lion, the police chief of the African buffalo and the police officer of the cheetah all have their own roles. It is in this meticulous animal world view that Judy, as the first rabbit policeman in metropolitan history, naturally no one believes that she can become a good policeman. Nick Fox, who was accidentally involved in this case, no one would believe a sly fox. Solidified prejudice has become Zootopia's most powerful moral proposition, and it is this prejudice that makes the film create ridiculous joy again and again.

Zootopia's plot conception is not a sermon in which the characters shout equality and non-discrimination, but this proposition runs through the whole plot. It uses the racial experiences of the heroines Judy Rabbit and Nick Fox to metaphor all kinds of prejudice and discrimination in modern society, and the meaning of breaking the inherent thinking and prejudice is actually implanted in every role, bringing the prejudice and discrimination in real society to the surface with great interest. The film is not limited to children, and adults can have a better understanding in this film. Zootopia is in the heart of every audience.

Fantasy animal city, hilarious journey, there is no beautiful utopia in this world, but when everyone can be equal, there is no place that is not Zootopia.

5. How to deal with the 2000 words of Hachi: A Dog's Story From the trailer, although Hachi: A Dog's Story was produced by all Hollywood teams and filmed in the United States, it captured the unique warmth and significance of Japanese movies.

Compared with the hilarious style of the American film Marley and Me, Xiao Ba: The Story of a Dog is even more tearful. Director lasse hallstorm said with a smile: "I want the movie to be warm but not promiscuous, so I avoid a lot of dog blood."

Because I hope it is a comedy, and don't overemphasize sadness, but simply present the friendship between people and dogs. "Nevertheless, when richard gere got the script, he was moved to tears and cried again because of the plot in the story.

He said: "I thought I was too emotional to cry, but I watched it again every few days and still cried." .

6. Please give examples to illustrate the influence of different scenes on the film style. Scenery is a unique means of expression in film and television. Its division is determined by the size of the adult ghost image and the part of the adult that is intercepted at the bottom of the image. China's film and television scenery can be roughly divided into five types: distant view, panoramic view, middle view, close-up view and close-up. Some directors have a habit of dividing it into eight categories, namely 1, and large field of vision: adults account for about1/4 of the screen height; 2. Foreground: adults account for about1/2 of the height of the picture; 3. Panorama: the whole body of the human body; 4. Mid shot: Above the knee; 5, close shot: between the close shot and the middle shot: 6, close shot: above the chest; 7. Above the shoulder, 8. Close-up: face and limbs. Different landscapes have different functions. There are three factors that affect the size of the scene: shooting distance, optical lens focal length, and person depth scheduling. In our country, the long-range series is called big scene, and the close-range series is called small scene. The change of scenery means the change of audience's sight distance. Not only that, it is also a powerful means for directors to focus on vision. The visual limitations of the audience.

Shooting angle:

The shooting angle includes shooting height, shooting direction and shooting distance. There are three shooting heights: flat shot, over shot and over shot. The shooting direction is divided into front angle, side angle, oblique angle and back angle. Shooting distance is one of the factors that determine the scenery. These are collectively called geometric angles. There are also psychological angles, subjective angles, objective angles and subjective and objective angles. Choosing and determining the shooting angle at the shooting scene is the photographer's key work. Different angles can get different modeling effects and have the same performance function. Angle can be reproduced on the spot or exaggerated, which has special significance. In the creation of film and television photography, the angle setting should not be arbitrary, but should reflect a modeling style.

7. Seek the montage, scenery, sound, long-shot film review of Love of Hawthorn Tree, and the role decomposition and combination of 1500 words, so that the film has a high degree of concentration and generalization ability, and a film that lasts less than two hours can be like Citizen Kane. 2. Reflective montage, unlike juggling montage, randomly and stiffly inserts symbolic pictures irrelevant to the plot content. Instead, the things described and the things used for metaphor are in the same space, and they are interdependent: either contrast with the events, or determine the reaction between the linked things, or reveal similar events contained in the plot through reflection and association, thus affecting the audience's palace view and consciousness.

For example, in October, kerensky went to the Winter Palace surrounded by ministers, and a backward shot showed a painting column above his head. There is a sculpture on the stigma, as if a bad lamp had covered kerensky's head, which made the dictator look very noble. The reason why this shot is not blunt is because Eisenstein used a sculpture in the real set and a real object in the real drama space. He processed it, but he didn't attract people with objects unrelated to the plot.

This is created by Wiltoff. The method is to rearrange and express an idea by using literature in newsreels. This montage form is an abstract form, because it only shows a series of thoughts and emotions inspired by reason.

The audience looked on coldly, which caused a certain "alienation effect" between the screen and them, and their participation was completely rational. Ordinary Fascism directed by Rome is a typical work.

Discussion on Montage Theory In this paragraph, neither Griffith nor his successors thought of summarizing or exploring the laws and theories of montage. The first person to explore montage seriously was Soviet director Kuleshov and his students Eisenstein and pudovkin.

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

With Hungarian film theorist Bella? In balaz's words, "Once the upper and lower lenses are connected, the extremely rich meanings hidden in each lens are emitted like sparks." For example, in "The Rural Female Teacher", varvara answered "forever", and then took two shots of cuttlefish branches, which had a meaning that did not exist alone, expressing the feelings of the author and the characters in the play.

Eisenstein applied dialectics to montage theory, emphasizing the conflict between contrast shots. For him, a shot is not an "independent thing". Only when it collides with the opposite shot can it arouse emotional feelings and understand the theme.

He believes that a single shot is just an "image", and only when these images are fused together can a meaningful "image" be formed. It is this "montage power" that makes the combination of shots not a brick narrative, but a "highly excited and emotional narrative". It is this "montage power" that brings the audience's emotion and reason into the creative process and experiences the same creative path that the author experienced when creating images.

Eisenstein's view is inseparable from the enthusiasm for montage in the early Soviet Union. Kuleshov believes that the material of a film is a shot, and the performance of actors and the arrangement of scenes are only the preparation of the material.

He did a famous experiment in which three different clips were pasted on a close-up of an actor without any expression. The first is a pot of soup, the second is the coffin of a female corpse, and the third is a girl with a toy. It is said that the audience thought that the first clip showed a close-up expression indicating that they wanted to drink soup, the second showed deep sadness, and the third showed a happy smile.

This obviously exaggerates the role of montage and obliterates the role of performing arts. At that time, even pudovkin said, "A shot is just a word, a concept of space, and it is the object of death. Only when it is put together with other objects can it give life to the film. "

Eisenstein even compared montage to hieroglyphics, saying that montage is like a word "dog" plus a word "mouth" in hieroglyphics, which is called "barking", which means that dogs bark, and two nouns are combined to produce a verb. Eisenstein put forward the so-called "juggling montage" when he was engaged in drama activities. After his failure on the stage, he thought that the film was the place to realize the "juggling montage".

The so-called "juggling montage" is to capture the audience with powerful shots, episodes or programs that leave the plot structure, so that they can accept the ideas that the author wants to instill. Pudovkin and pudovkin have a broader vision of montage. He no longer pays attention to the comparison and metaphor of montage, but regards montage as a narrative means and a means of expression.

At the beginning of "On Montage", he declared: "The separately shot shots are well connected, so that the audience can finally feel that this is a complete, uninterrupted and continuous movement-a technique we are used to calling montage". Of course, this kind of work is not a rigid mechanical operation, nor is it a blind and random arrangement. To organize the lens into "uninterrupted continuous motion", "there must be obvious connections between these fragments".

This connection can only be external, for example, a person is photographed in the last shot and a person falls down in the next shot, but more importantly, it is a "deep and thoughtful internal connection." 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 one connection or another until there is a sharp contrast or contradiction." Therefore, he gave a definition of montage: "In film art works, various techniques are used to comprehensively express and explain the relationship between various phenomena in real life."

People think that montage depends on the director's talent. "This talent makes the director good at turning the potential internal connection between life phenomena into a clear and visible connection that can be directly felt without explanation." Is that why, Bella? Balaz said that the film is not a simple copy, but a real creation. A good director can not only show pictures, but also explain them.

Edit this montage to disable the theory.