What are the characteristics of the film "Yellow Land" in photography?

In literature and art, "we usually regard regional cultural characteristics as an important connotation of the style of literary works, and even regard the richness of regional cultural characteristics as an indispensable symbol of the maturity of a literary work." "In terms of subject matter, people have also seen that rural works can best enrich this regional cultural feature." The reason why the film Yellow Land is loved by the audience with its strong regional characteristics is undeniable that it has made great efforts in art, but the regional cultural characteristics shown in it are also an important factor for its success. This film vividly shows the natural beauty and characters' feelings of the Loess Plateau. In the sense of modeling, the main color of the film is dark, and the contrast between light and dark in the picture is great, which gives people a dignified and restrained feeling visually. As an important narrative element, the simple and distant folk song "Believe in Heaven" in northern Shaanxi represents the eternal vitality on the yellow land and is also an indispensable link between the old and new civilizations.

First, characterization and regional culture

Dana has a famous assertion that "the nature and appearance of material civilization and spiritual civilization depend on three factors: race, environment and times." That is to say, Dana emphasizes that regional culture has a vital influence on people, and people are the object of literature and art. In this way, when we look at the regional cultural characteristics of works, we mainly look at the influence of regional culture on the characters in works. The film Yellow Land has four main characters: Gu Qing, Cui Qiao, Cui Qiao's father and brother. Zhang Yimou said: "There are very few things we can photograph: land, caves, the Yellow River and four figures. However, the painting is three inches vertical and one kilometer high; A few feet of ink is horizontal and a hundred miles long. " Every scene and character in the film has assumed a symbolic role.

Cui Qiao in the film can best represent thousands of oppressed working women in Qian Qian under the feudal system of the Chinese nation. Like Cui Qiao, they silently bear the double pressure of spirit and material.

The image of the father in the film left a deeper impression on people. When Gu Qing first arrived at Cui Qiao's home, he sat on the kang and chatted with Cui Qiao's father. An oil lamp stood behind Tracy's father, giving off a faint light. Trejo's father sat in the dark like a clay sculpture. When he said he was 47 years old, the camera zoomed in a little, and we could see his face in a half silhouette. The gully on his face can't help but remind people of Luo Zhongli's oil painting Father, and the audience was deeply shocked. The sharp contrast between the age of middle age and the vicissitudes of life naturally reminds people of the mental burden borne by the Chinese nation for thousands of years and the suffering and fate of farmers who have not turned over.

In the film, the shepherd boy becomes Cui Qiao's younger brother, who is taciturn and named Han Han, but in fact he knows very well. Like farmers on the yellow land, arm in arm with sleeves, with a blank face. They just answer "Oh" and you think they are stupid, but when they play drums happily on the field, you can feel the brilliance and enthusiasm of life. Han Han is like this group of silent people on the yellow land. When Gu Qinggang started to contact him, he hardly spoke, just silently observed Gu Qing, and then he was influenced by the producer of * * * represented by Gu Qing in his life and work, until he finally ran to Gu Qing against the crowd begging for rain, representing the awakening of that part of the new force among the masses.

The farewell scene in the film appears in the form of folk songs. In the film, Cui Qiao said when bidding farewell to Gu Qing, "Brother Gu, where is the yellow rice cake my brother made for you? Try it. Does it taste good？ If you find a companion on the road, you will not be tired: if you are thirsty, you will drink long running water; If it is late, you can rest in our poor family. " People who are familiar with the folk songs in northern Shaanxi can see at a glance that this passage is from "Walking West", which is a popular folk song in northern Shaanxi in Hetao area, showing women's concern and advice to their lovers who are about to travel far away. These words appeared in the scene of Cui Qiao's farewell to Gu Qing, expressing Cui Qiao's indescribable and hazy love for Gu Qing. The relationship between the two people is not clearly stated in the film, but it seems to give a vague explanation here.

Second, the picture color and regional culture

The film Yellow Land has won many awards at home and abroad, many of which are photography awards, which are closely related to the color of the film. Zhang Yimou, the photographer of the film, said: "We require the color of the film to be tonal, emotional, especially emotional, so as to be saturated and dignified and have strong contrast. Don't paint bright colors in the school year, take them simple and rich. Three colors of black, white and red have been added to the yellow theme, namely black thick cotton-padded jacket, white lamb belly towel, red wedding dress and hijab. As for other colors, try not to use them. This color processing is not completely realistic, but has been refined and summarized. " In Yellow Land, the main color of the film is dim, and the contrast between light and dark in the picture is very large, which gives people a dignified and restrained feeling visually. The creator is full of love for loess, and his observation, exploration and thinking on loess culture during the Anti-Japanese War are full of warmth but not publicity, and full of enthusiasm, optimism and calmness.

The film is set in yellow, yellow land, Yellow River. Yellow land is a barren land, but it has nurtured the Yellow River and the splendid culture of the Chinese nation. So the film treats them as warm colors, showing the warmth of a mother. Red is Zhang Yimou's favorite color, which appears in a large number in his later films. The use of red in this film is very distinctive, and it appears in different scenes, which makes people feel different. The film begins with a wedding, and red appears repeatedly, including a red wedding dress, a Hong Xiuxie, a red sedan chair, red flowers on the horse's head, red silk on the suona and so on. Red is a warm color, which sets off the excitement of the wedding. However, the slightly melancholy expression in the camera and the music in the film make the audience feel that there is something different in this enthusiasm. Then Cui Qiao's wedding scene repeated this red scene. But this time, the audience will no longer feel the festive atmosphere. What haunts people's minds is deep sympathy for Cui Qiao's fate. Then, the camera jumped to the waist drum array, and a lot of red appeared on the screen, such as red waist drum, red belt and red slogan, which once again showed the enthusiasm of the scene in red.

The highest embodiment of this film's modeling consciousness lies in several representative works. In the film, both wedding teams are going downhill, which symbolizes the decline of the old civilization. When shooting the wedding audience, the camera intentionally "cuts off" the characters in the picture at people's necks, waists, knees and other joints, so as to show the persecution and bondage of the old feudal ideas to the working people: Gu Qing appeared at the wedding banquet as a foreigner, and the farmers were all dark, and every corner of the picture was full of Gu Qing wearing a completely different military uniform, with them. At the end of the film, Han Han goes upstream among the people who are in urgent need of rain, and marches hard towards Gu Qing, which represents the foreign open civilization, indicating that the young life in this land will eventually overcome the old feudal ideas and eventually overcome all obstacles and constraints to pursue a new civilization.

Third, music and regional culture.

As a comprehensive art, film needs to mobilize a variety of artistic elements to combine into a whole, so as to sublimate the theme of the film. The film "Yellow Land" combines artistic elements such as sound, picture and music to create a beautiful and concise artistic conception. The use of folk songs in northern Shaanxi in the film "Yellow Land" makes the loess breath suddenly come to my face, delicate and euphemistic, and meaningful. Unforgettable It is of far-reaching significance to highlight the characteristics of the theme era and regional characteristics.

The proper use of music is undoubtedly a major feature of the film Yellow Land. As an important narrative element, the simple and distant folk song "Believe in Heaven" in northern Shaanxi represents the eternal vitality on the yellow land and is also an indispensable link between the old and new civilizations. Folk songs in northern Shaanxi are a wonderful flower, the mother tongue and spiritual home of loess, and also the characteristics and essence of loess culture. The man at the wedding sang his belief in heaven because he surrendered to the old civilization; Cui Qiao sings the belief in heaven because she is full of curiosity and hope for the new civilization. Cui Qiao's father sang "Heaven Rewards Diligence" on the eve of Gu Qing's departure, because as a representative of the feudal civilization of the yellow land, he was willing to tolerate and not exclude even if he could not understand and accept the new civilization, which reflected the great inclusiveness of the profound loess culture. At the end of the film, the energetic waist drum team strutted on the ancient loess plateau, which was earth-shattering and unstoppable, strongly rendering the extremely brave mood, symbolizing the inevitability of the new civilization defeating the old civilization, which was gratifying.

The Loess Plateau is the birthplace of the Chinese nation, and the Yellow River is the mother river of the Chinese nation. No matter how the Chinese nation develops, loess culture is the root, and its inclusiveness is irreplaceable forever. Its simple folk customs and ancient culture still exist, and its melodious journey to heaven still echoes in this ancient land. Folk songs can be used not only to express the unique customs of the Yellow Land, but also to express the inner world of the characters. The film did not give up this expression with strong local characteristics. In the film, Gu Qing came to this yellow land to collect wind. On the empty Yuan leaf, a man's desolate song came from far away: it's difficult to recruit workers (ouch), and it's difficult to recruit workers, and it's not full until the first month of October ... Gu Qing stopped to listen, but there was wind and sunset everywhere. In the old society, due to different regions, people called the landless peasants who sold their labor for a living as "porters" and "buddies". Lan Gong Diao is a folk song that reflects the suffering and exploitation of Lan Gong. It is a portrayal of the contrast between the rich and the poor in the old society and a complaint of blood and tears from the working people. It depicts the painful psychology of workers in the way of slow songs. Using this ballad to set off Gu Qing's appearance just shows that the producers of * * *, represented by Gu Qing, have brought hope of spring to the oppressed people in this ancient yellow land.

Gu Qing was invited to a local wedding, and there was a toast song at the wedding: Erguotou shochu pays the bill, so that friends can take it out, the same shochu, the same dishes and the same friends. Like wooden fish on the dining table, ivory chopsticks to pick up vegetables, and silver pots to carry wine and gold spoons, it shows the heroism and romance of the working people on the yellow land and their yearning for a better life. After the wedding, Gu Qing came to Cui Qiao's house. At night, Cui Qiao remembered his life experience and sang "Daughter Song": "The Yellow River didn't melt in June, and it was my age that twisted me into marriage. Peas are not round in the grain, but poor daughters, poor daughters and poor daughters of people. The sand pigeons in the sky are flying against each other. I don't want my mother to miss anyone. The gourd in Sichuan and the melon in the mountain don't want to get married, I will be beaten. " ……

Through the use of folk songs, the film depicts the suffering of the people to varying degrees, thus radiating the suffering of the whole nation.

Four. conclusion

The Loess Plateau, a strange land, is the yellow land with thousands of years of ancient civilization in China. A long and profound cultural tradition and an ancient and splendid historical civilization have created the source and treasure house of Chinese culture. The film Yellow Land shows the Loess Plateau as a desolate and beautiful oil painting and an ancient and simple folk song. The film language vividly shows the unique folk customs, regional culture and ethical concepts in the northwest, which is a concentrated display of the western regional culture and the characteristics of the loess plateau, giving the audience a deeper understanding and understanding of life in the west.