Why does Wong Kar-wai particularly prefer the photography mode of combining small scenes with long shots?

Today, the golden age of Hong Kong movies has undoubtedly passed, but its glory in the 20th century is believed to be what all friends who love movies yearn for. This is a movie era, which has produced countless well-known stories and left a unique personality for countless people. Wong Kar-wai. This humble name is an altar that cannot be bypassed in Hong Kong movies. Wong Kar-wai 1958 was born in China. When I was five years old, I immigrated to Hong Kong with my parents, and then I immigrated to the United States with my parents.

1980, after studying in the Department of Fine Arts and Design of the Hong Kong Polytechnic University for two years, I gave up my further study and entered the director training class of TV Broadcasting Co., Ltd. as a production assistant. Since then, Kwok-Leung Gan, a well-known media person in Hong Kong and then the manager of Hong Kong Radio and Television Program Department, has been given many opportunities for drama creation, so Wong Kar-wai has always regarded Kwok-Leung Gan as his teacher. 1982 left the TV station and joined the film industry as a screenwriter. As we all know, Wang Dao was called Wang Dao for the first time in 1988, and as the tears passed, this was the starting point of Wang's style/excellent learning. In this film, the audience first saw Wong Kar-wai and Liu Weiqiang? Portable? Photography technology.

In these scenes, Huazai is the only one who is in the car every time. The long lens of the zero line creates a faint sadness in the cold atmosphere in the early morning. In Wong Kar-wai's films, there are few violent emotional catharsis, but the whole film is exaggerated and the atmosphere is slowly created. Although this will not bring tortuous mood swings to the audience, it will enhance the sense of introduction, not very exciting, but whispering. In this way, the tone of the film is buried in the hearts of the audience, and we have subconsciously foreseen the tragic ending.

This is a typical symmetrical composition. At this time, two people have not merged into one, and the picture is divided into two, showing two opposing individuals, which seems to be evenly matched. However, if you pay attention, you will find that there is a wall behind Maggie, which means that she has been in no way back, while Hua Zai is a standard squash posture with a confident smile, as if he has told everyone that he is determined to win, and his cousin is mine!