What are the shooting techniques of the movie Farewell My Concubine?

In Farewell My Concubine, Chen Kaige still embodies the strong sense of "spatial language and video language" of the fifth generation, and deliberately "strengthens the modeling plot with spatial factors" in order to achieve "the combination of reproducibility and expression in video composition" (Jenny Tseng's "Jumping Height"). Generally speaking, Farewell My Concubine focuses on reproduction. However, the strong subjective tone often covers the top, bottom, left and right sides of the picture, raising the reproducible spatial composition to a stylized height and becoming an "image" with huge rational and perceptual capacity. In "king of the children" and "Walking and Singing", Chen Kaige used abstract color block combination and cold confrontation composition to complete visual modeling, but in this film, Chen undoubtedly took a big step in the appropriate limit of artistic expression, and the creation of the overall atmosphere replaced the awkwardness of a single modeling. Of course, Gu Changwei's photography director also contributed. In the film, emotions are splashed with ink, and the mixed colors of cold and warm poles push the already colorful Beijing opera modeling (facial makeup, costumes and movements) to the top of formal beauty. How can the audience resist this decadent aesthetic feeling similar to the ultimate experience? As a director, Chen Kaige successfully realized the "two-handed" strategy in the control and processing of image flavor. First of all, in the main events, the camera stabilizer is used to track and shoot the running movements of characters from a long distance. Its aesthetic functions include: it not only fully displays the extremely realistic space scenery, but also makes the audience feel some kind of on-the-spot experience of the parties (strengthening the performance effect); Make the focus of a scene highly concentrated, full of vitality and vitality, and stay together; Strengthening the sense of rhythm and relaxing the rhythm can guide and adjust the audience's attention, avoid dullness and establish a distinctive grammatical style of the film. Moreover, different long shots with jokes have different effects: for example, at the beginning of the film, the "overlord" and "concubine" slowly walk into the stadium, and the long aisle and relatively fixed shooting distance make such sports shots have a heavy sense of depression, which suddenly brings people into a decadent atmosphere that is difficult to distinguish between true and false. In another scene, the little bean was cut off by her mother, and the pain was unbearable. She ran and shouted in the theater, and the rest of the characters moved quickly at different depths of field. Violent and violent picture processing combined with heartbreaking screams is a sound-the difficulty of learning drama can be seen from the "escape" arranged by the director. Because the characters in the film are often in hysterical mood, the photographer really has reason to use exaggerated and distorted short-focus lenses. However, Gu Changwei's "I Seek My Way", which is not superficial from time to time, takes a different approach, starting with color and setting off the artistic conception of the picture, which is unique. For example, a "blind date" is full of flowers, and the overwhelming red tone can almost ignite the screen; The scene of dressing up and flirting with Master Yuan uses a cold and gloomy tone, plus a faint smoke effect-drunken dancing, hard to tell the difference between male and female, unpredictable truth and falsehood, and a confusing eroticism. Expressionist contrast lighting can be seen in many places in the film, and the stage effect is simulated by light splitting and light chasing, which reflects Gu Changwei's profound image control ability and rich experience in image creation. What is particularly rare is that he is an excellent photographer who can grasp the director's intention and has a delicate and sensitive mind. It turns out that Chen Kaige's consistent directing style usually makes the actors' performances tend to be abstract and rational, so the emotional expression of the characters tends to be superficial, and Gu Changwei can just make up for and polish it, and fine-tune the details of light and color in many places in this film to set off the subtle psychological changes of the characters and make the viewers memorable. In order to add icing on the cake to Gu Changwei's wonderful photographic works, Chen Kaige often deliberately goes against the norm in editing techniques, making a jumping combination of motion and static or a combination of motion and static, with strong contrast and many shocks; The mirror language is precise and vicious, coupled with the sudden intrusion of sound, fierce and aggressive, full of spirit. Leslie Cheung's superb performances complement each other. He can especially understand that under his pain and infatuation, Cheng Dieyi is surprisingly calm and tactful, and has accumulated uncontrollable psychological energy. After the outbreak of the epidemic, he had to beg for help, which made the audience feel that Cheng Dieyi was hurting himself, which was unbearable. The worse the situation, the deeper the damage. A large number of mirror images are also designed in the film to show Cheng Dieyi's repressed multiple personalities, so every explosive action of Cheng Dieyi is endowed with enough psychological motivation to attract the audience's recognition. Drawing lessons from the freehand brushwork style of Peking Opera, Leslie Cheung gave full play to the expression effect of his eyes, and with an emotional smile, showed Cheng Dieyi's elegant manners, such as flowing water, promoting cleverness and avoiding clumsiness, taking less as more, and being unpretentious, so that spirit and form were integrated. Everything is mixed together, so it becomes the sad and crazy image style of Farewell My Concubine.