A Brief Analysis of the Movie "Ashes of Time"

The Ashes of Time is one of Wong Kar-wai's representative works. In this film, Wong Kar-wai subverts the traditional martial arts film, separates the characters from the plot, tells the different process of the story from different angles, and expresses the most delicate emotion in a person's life-love. The film still follows Wong Kar-wai's consistent style, and the whole story is about rejection and feelings of rejection. Wang's film language is fully displayed here. Beautiful music, incredible photography angle, constantly changing wide-angle lens and inclined composition create an atmosphere of alienation, isolation and loneliness in the desert, giving people a feeling of emptiness and loss. Show desolation in beauty and bring a classical realism to the extreme. This is the city in Wong Kar-wai's eyes: something that people can't refuse and try to escape, and this emotion permeates every detail of his films.

First, the application characteristics of color in works

In the use of screen colors, the whole film tries its best to render the characters of the relevant characters, contrast the plot, make the works more desolate and desolate, and highlight the dramatic contradictions of the works. The colors of this painting are mainly red, yellow, blue and white with high saturation. This color style makes the works combined with the plot bring illusory and mysterious visual feelings to the audience.

First of all, the large yellow desert is the overall tone of the film. At the beginning of the film, there are yellow desert and yellowish ocean pictures, which turn the color into gray yellow. The water should be blue and cool, but there are dark yellow and endless waves here to show inner anxiety and give people a mysterious and Leng Yan feeling. In the picture of Huang's appearance, the endless desert, the strange sun overhead, the sunshine on the face of ASEAN, but some of it can't be seen, showing his inner contradictions. His clothes are khaki, suggesting his inner pain.

The tone of cool color shows a person's loneliness and loneliness. 1 min 30 seconds when Leslie Cheung appeared, he was standing at the door of the inn. The whole picture presents a cold feeling, which makes people clearly understand that this person is depressed, but there is still light outside to show that he still has hope to get rid of the predicament. His clothes are gray in color, symbolizing mental exhaustion, weariness of the world and spiritual shackles.

Red symbolizes madness and fiery. Six minutes later, Maggie Cheung appeared. She touched Dong Xie, who was dressed and ready for bed. The light hit her swimming hand, indicating that she hoped to communicate with Huang, but the reality was cruel. We can only approach Huang when he is unconscious, which shows that their communication has been problematic from the beginning. When Maggie Cheung left, Brigitte Lin was wearing a red dress. Red should give people a warm, romantic, exciting and hopeful feeling, which makes people feel hot, bright and healthy. But it is surrounded by a large area of black and cool tones. What is conveyed here is dangerous and unstable. In contrast, her hair is flowing under the willow tree, and the purplish robe highlights the gentleness of women. 1.30.0, Maggie Cheung was also dressed in red, with red flowers in her hand and bright red lips, but she looked like a sad beauty who had lost her youth.

White is an open-minded person who sees through the secular world. 365,438+0, Brigitte Lin is wearing a white shirt, which gives people a sense of sacredness, inviolability and flawless. Moreover, when all the women in the film appeared for the last time, they were mostly white, indicating that after time, they had a deeper understanding of their past persistence.

Second, the use of lens in works

In this film, three kinds of lens expressions are mainly used: long lens, empty lens and oblique lens. For example, the appearance of horse thieves in the film fully embodies the use of long lenses. The camera slowly pulls back from far and near, and the horse thief gradually changes from a single perspective to multiple panoramas. This technique also reflects the unique perspective expression of the creator and objectively shows the face of horse thief.

In addition, the use of tilt lenses is also more common, and the more popular shooting methods are not adopted. Ouyang Feng, for example, is portrayed in this way. It mainly shows Ouyang Feng's inner contradiction and disagreement with himself, which plays a very good role in reflecting the inner world of the characters. At the same time, it also makes the work create a mysterious and illusory realm visually.

Finally, wide-angle shooting is adopted in the use of empty lens. This method is used for the background of lakes, deserts, sky and trees, and for the special and transition of the picture. These visual scenes bring more tension to the audience.

In addition to the above lens languages, close-up lens is also a widely used lens language. For example, when Ouyang Feng was screening, he used close-ups to fully show the five senses of the characters. Especially with prone shooting, the proportion of face and forehead is uneven. This visual effect brings a more depressing feeling to the audience.

Similar shooting techniques are also used in Mu Rongfu. Inclined shooting angles and close-ups not only show their external qualities such as indifference and loss, but also show their unbalanced inner world with such lens language. The above techniques are quite different from other martial arts works.

Therefore, Wong Kar-wai's martial arts films are not so much costume martial arts dramas as the products of people's recognition and reflection on life and society. The symbolic meaning of the work is greater than the artistic meaning of the work.

Third, the characteristics of the picture composition in the work

The picture composition in the film better reflects the creative skills of the director's storyboard, which enables the cameraman to create good shots through the storyboard, so that the audience can better accept the relationship between the characters in the film and the plot, which is also very important for the development of the plot. In the picture composition of the movie "Ashes of Time", in addition to using background, color and light, props are also fully used as the contrast and symbol of the plot atmosphere.

For example, seemingly ordinary objects such as bird cages and white curtains in the play have good symbolic significance. Bird cages appear in the photos of Ouyang Feng and Huang respectively. From the upper left corner of the picture to the birdcage, it gets bigger and bigger as the camera approaches. Symmetrical to this is the narrative of their respective dialogues. Here, the birdcage becomes the reflection of the inner world of the characters in the play, just like a mirror. This "mirror" reflects the inner activities and dark side of the characters in the play. In particular, the shadows reflected by the cage are reflected on the faces of the characters, which brings the audience a more depressing and heavy visual experience.

The white curtain plays a "wind vane" that symbolizes the inner activities of the characters in the play. The inner quality of the characters is reflected by the display and dancing of the white curtain. The development of discourse and plot content in Hong Qi, The Orphan Girl and other works can be reflected by Dance of the White Curtain. In short, the props in the composition set off the atmosphere through the color of the picture and the dialogue of the characters, which played an excellent narrative role.