How to conduct film analysis - theme, structure, characters, scene, scene, space, camera position, light, tone, dialogue

After watching a movie, we try to summarize and analyze something. The theme is the core and connotation of the content in the movie; it is the theme idea that the movie wants to express. The content and themes in film works penetrate and reflect the creator's world view and values, and reflect the creator's understanding and emotions of life. The themes of movies are often diverse, multi-faceted, and multi-pointed. We can understand it this way: the theme of the movie is the connotation of the movie's actions and characters, and is the extension of the movie's plot and events. The theme is a hint of the life experience and understanding of the screenwriter and director. When the theme of the artistic work is transformed into an image, it is the emotional catharsis of the director's thoughts and desires. The stories and themes of modern movies can often be explained clearly in one sentence, but not in ten thousand sentences. The theme of modern movies is in-depth and is an inner emotional experience for the audience. The theme of the movie is not the experience, social significance and ideological value that we summarize and summarize after watching the movie. Rather, it is the goal pursuit and soul purification of film creators. The themes of film art are often not simple or superficial, but in-depth and ambiguous. We need to grasp it as a whole. Usually people understand that the theme of a film should include the following two levels: 1. The content of the film or what the author of the film is trying to tell us. We can clearly see and understand this from the film's narrative and characters. It is not an abstract symbol or a collection of concepts, but is reflected in a screen effect full of visual modeling characteristics. 2. By expressing our understanding of the theme, concept and overall audio-visual image of the film, we understand something. Although the theme is the creator's understanding, attitude, emotion and aesthetic concept of life and society expressed in the film, with obvious personal subjective color and style, it will not be a purely subjective thing, it must be a personal one. Perceptions of life. We must have a comprehensive understanding of the themes shown in film works and remember not to be one-sided or simplistic. The greatest feature of works of art is to use the most common story to promote a very meaningful thought, reflect rich ideological connotations, illuminate and soothe people's hearts, thereby improving and purifying people's spiritual realm. When we analyze and discuss the theme of a film, in order to have a deeper understanding of the theme of the work and understand the director's creative intention, we should consult the textual information related to the film, and we must make preparations in the following ten aspects: 1) This film Which literary work (masterpiece) is it adapted from? What kind of theme, background, and characters does the author express in the original work? What kind of spiritual world and emotional effect does the work convey? 2) What works has the director of this film directed before? What is his or her consistent creative style? In this work, what kind of means, methods, styles, and styles are used to complete the film's narrative and theme expression? 3) What type of style does this film belong to? What are the similar types of movies? What are the differences between them? 4) Describe which plots, scenes, and details in this film have a particularly important role in expressing the theme of the film? Can you express this psychological and artistic feeling accurately, vividly and completely? What things in the film made you excited to recall? 5) How much do you know about the events, background, characters and related reports in the mass media about this film? 6) Based on your personal expertise, gender, age, culture, accomplishments, values, and moral values, how did you get to know this movie? Or what level do you think this film is at? 7) At what level do we think we can fully understand what the film wants to express and what the director wants to express, and what kind of starting point are we based on? 8) To what extent do we identify and resonate with the film in terms of visual physiology and aesthetic psychology? 9) What do you think is the best thing in the film and what is the most worth learning from? The style, narrative structure, modeling style, methods, image effects, and character creation in the film, which ones interest you the most? 10) Apart from the opinions of the majority of the public, do you have any opinions or opinions about this film? What do you think is the biggest flaw in the film? These ten questions can basically help us deepen our understanding of the film. The important thing is that when we watch a film, we think about what we feel. Something to feel. This understanding and feeling should be analyzed repeatedly and deeply, and the reasons for the understanding, feeling and understanding of the subject should be explained. If the topic is not clear, the analysis will not be thorough. The analysis of the theme of the film is in terms of form, including article reading and paragraph pulling. Discussions among classmates and analytical writing are both very good learning methods. -------------------------------------------------- ------- Second structure The analysis of film structure is a very important task in film analysis. In our film analysis, most students often neglect to analyze the film structure, or even pay no attention to it at all. In fact, the structure of a film is one of the most important art forms of film. Structure is the way the film is organized and arranged and the structure of the narrative combination. The structure, the frame, of the film is the style of the film.

Based on the theme, content, and character creation needs of the film, the director uses various means and methods to reasonably, organically and completely form an audio-visual whole of various elements to achieve artistic unity. Structural analysis of films is a systematic project in film analysis. The structural analysis of films we believe should include: 2. Analysis of the structure of the play: The analysis of the play is mainly a systematic analysis of the plot setting and plot organization of the movie. Research from the rules of film creation shows that a film with a dramatic structure is nothing more than countless events with causal relationships and internal connections, arranged together organically and purposefully, and ultimately forming an ending. Looking at the styles of feature films in various countries around the world, the narrative structure of the film, the script structure of the film and the ending of the story basically have four modes of existence: A. Reasonable and expected; B. Unreasonable and expected; C. Reasonable, unexpected; D. Unreasonable, unexpected. But no matter what kind of ending, it will be full of the flavor of causality, chance, necessity and drama, and there will be a human and subjective factor. A film with a non-dramatic structure will be more casual, natural and accidental in its surface composition. Many events are arranged very organically and intentionally, often in the final formation of the film, it is nothing more than Two modes are formed, the individual unconscious forms the collective consciousness. 2) The overall conscious formation of style. The play structure of modern movies is often very arbitrary and variable. The focus is on the reasonableness and reasonable handling of the play. Some are reasonable and unreasonable; some are reasonable and unreasonable; however, from most Analyzing the composition of the film, plausibility is more important than reasonableness. 2. Plot structure analysis: Plot analysis is mainly an overall analysis of the plot arrangement of the movie. The plots of traditional movies are often sequential and linear, while the plots of modern movies are more complex and confusing. But the plot and details of the film are an important part of its structure. The narrative plot of a film generally constitutes the framework of the film; the details and elements of the film constitute the content of the film; the advancement of the film's plot generally does not rely on external forces, but relies heavily on the actions of the characters and the setting of details. The arrangement of movie plots is often based on the psychological clues and development of the characters. In the past, dramatic film narratives relied heavily on the design and setting of exquisite external plots. In modern movies, more and more attention is paid to details in narratives, and detailed actions and detailed scene accumulation are used to promote the plot. The characteristics of this kind of film are: emphasis on details, emphasis on repetition of details, forming the internal structure of the film, and emphasis on the dailyization and visualization of details to shape the characters and help the plot. Generally speaking, the structure of a film is the most important means of expressing the director's style and theme. After analysis, it was found that the narrative structure and drama structure of movies can be diverse. However, the selection and determination of the final structure of the film must be conducive to the theme of the film, the shaping of characters, the expression of style, and the diversification of narratives. -------------------------------------------------- ------- Three Characters The characters in the movie are the core of the film creation and the core of the work. On the other hand, character creation is the top priority of a film director's creation. Our understanding of literature is that literature is a humanistic style, that is, people. Compared with other art forms, film creation is also closely centered around shaping typical characters in typical environments. It can be thought of like this: the characters in the movie are the core of the narrative, the core of conflicts, and the basis of the film's shape. For the basic requirements of the movie, we hope that in a series of scenes, events, actions, and conversations, what we see are not ordinary people (specific actors), but live and distinctive characters. The normal situation in world movies is that only when the audience is interested in the characters in the movie (actually the actors), the story in the movie, and the theme of the movie will they pay full attention to the movie. The people we understand are natural people and social people. Characters in movies are symbols and fictitious people in the film narrative and dramatic structure, and are screen images played by actors (professional or non-professional). In our subconscious, the character actor and the actor's role are alternately identified. When we analyze movies, we should grasp the following issues when analyzing characters: 1. Analyze the role of characters in the film: What we understand about the characters in the film is often the comprehensive feeling of the character played by the actor in the film and the actor's own image. Sometimes a character is a concrete concept, and sometimes it is an abstract concept. The characters in the movie are the main body of the narrative; they are the initiators and undertakers of the main plots in the movie; sometimes, some characters in the movie are not particularly helpful to the plot and are just a symbol. symbol. What our psychological consciousness and ideology cannot surpass is that it is difficult for us to separate the image of a certain actor from the image of the character in the film. There are often three thinking patterns: A: The character in the film-the actor himself. B: There are ten characters in the film. C: Characters in the film one by one.

2. Analyze the expression of characters in the film: The expression of characters in the film is not only the overall narrative and plot of the film, nor the number of scenes, lines of dialogue, or number of shots, but the specific performance and performance. way. There are roughly four ways: 1) Character appearance expression: The appearance of the characters in the film is an important personality trait and important visual information of the film characters. During the production of the film, more attention was paid to the clothing, hairstyle, and makeup. For example: Charlie Chaplin, a classic character from the early American silent film era, has a very distinctive appearance, and his visual appearance in the film is extremely distinctive. The appearance of the characters in the film must not only fit the narrative of the film, but also have distinctive characteristics. 2) Performance of characters in different scenes: When a certain character is represented in a movie, sometimes it is more likely to use a specific shot and scene. The purpose is to make full use of the scene range of the lens to describe the psychology, emotions, and expressions of the characters. Even if a certain character uses multiple scene views to process the picture, or many characters use different scene views to paint the picture. Performance is also about portraying the character's personality and psychology. For example: in "My Father and Mother", the narration and character images of the mother when she was young mostly used the alternating application of close-ups, close-ups, panoramic views and long shots. The narration and character images of the mother when she was old used more alternate applications. It is completed with panoramic shots, and the overall style of the film is basically such a regular process. 3) Character physical expression: Most of the physical expression of characters in film narratives and scenes are carefully designed by the director and actors. Because the way and state of the character's body is not only for the narrative and the scene, but also for the shaping of the character's image, and even to promote the plot of the film. For example: in the movie "My Father and Mother", in the colorful memory time and space passage, the young mother's body is always in motion, standing and running; while in the black and white real time and space passage, the old man is always in motion. For the mother, it is exactly the opposite. Most of the body expressions are processed into static forms and sitting postures. 4) Character position expression: The character position in the composition of the film photography has its special significance in terms of film style and picture effect character creation. Regarding the specific way of processing the picture, some characters are placed in the center of the picture; some characters are placed on the side of the picture; and the positions of some characters are simply stuck in irregular positions. For example: The overall style of the character positions in the movie "Yellow Earth" is centered. The overall style of the character positions in the film "One and Eight" is side-by-side. These two different processing methods give the character positions in the composition of the film a distinct modeling effect. In fact, this is all an extension of the film's narrative, means, and style. Analyzing the expression of characters from a macro perspective in the film must be a technique and element that the director attaches great importance to during the creation process of the film. Through this detailed and quantitative analysis, we can further understand the film's style, visuals, effects, techniques, structure and directorial methods. 3. Analyze the performance skills of N objects' actions: The important factors that determine the characters' actions in the film are the environment, events and regulatory requirements. As a director, simple expressions and complex expressions of character actions will produce different results in the narrative style of the film. Then, the core question is what kind of lens techniques the director uses to reflect and express the actions of these characters. At this time, the actions of the characters in the narrative become the content, and the lens processing and expression techniques become the form. When we analyze the characters' actions in the film, discussing the existence form and action mode of the characters' actions itself is only one aspect of our analysis of the characters. More importantly, we also need to analyze what specific lens techniques (methods) are used in the shots and paragraphs of the film to express the actions of the characters here and now. In the actual creation and shooting process, the director can use different lens techniques (methods) to shoot and express different character actions, or he can use relatively fixed (same) lens techniques (methods) to express the same action and expression. Different actions. If the latter method is used, a special style of handling the action shots of the film's characters will result. For example: the film "Yellow Earth" shot by director Chen Kaige uses a large number of still (static) shots to complete the expression of the picture, and uses extremely limited panning shots to express some of the character actions and movements to express the space of the scene; the film shot by director Tsui Hark Most of the film "New Dragon Inn" uses exaggerated and deformed shots to express the close-ups and actions of various characters; most of the films shot by director John Woo use a large number of high-speed photography (slow motion) in narrative shots and action shots. ) lens technique to express the alienation of the characters' movements in the film, with a romantic, elegant and transcendent feeling of character creation, and a characteristic of the film's violent aesthetics. 4. Analyze the light form of the characters in the scene and the lens: According to the conventional analysis of movies, the light form of the characters in the scene and the lens should have its relative design, independence, image and distinctiveness. In addition to being affected by the location, direction, and nature of the scene, space, environment, and light source, the form of the character's light is also restricted by the film's theme, content, style, style, narrative, plot, and director's processing. Sometimes, in order to create a character image, a specific light form is given to a character in the film. The effect of this specially designed light is present as soon as the figure appears.

For example: in director Zhang Yimou's film "Raise the Red Lantern", the light form of the character Mr. Chen is quite prescribed, and is completely backlit, silhouetted, and semi-silhouetteed. It makes the portrayal of the characters very distinct, increases the mystery of the characters, and plays a very important role in the narrative of the film. Sometimes, in order to express the narrative plot of the film, a specific light effect is given to a certain character in the film. Wherever the character goes, this light effect will be carried. In the American film "Apocalypse Now", Captain Willa goes through all kinds of hardships and goes deep into the jungle to find Colonel Kurtz. In the final scene of the film, the lighting effect of Colonel Kurtz's residence in the jungle is completely subjective. The treatment of the characters is only done with backlighting, which is very mysterious and formal. Sometimes, the processing of photographic light is purely for the style of the entire film, so that one or several characters adopt a specific form of lighting effect. For example: In the film "Ruan Lingyu" shot by director Guan Jinpeng, the characters in modern time and space (the scenes played by the actors) are processed. The hypothetical characters are illuminated and the outline light is very clear. It is very modern and aesthetic, surpassing the early documentary films. The aesthetic atmosphere forms an alternation of two different times and spaces in the form of light. -------------------------------------------------- ------- Four Scenes The scene is the basic carrier of the film's narrative and the specific spatial environment of the film. The scene is an important styling element of the film. The scenes of modern movies can be real space environments or non-real space environments. However, the existence of these two scenes requires that they embody and reflect the situations specified in the script. Generally, the ways and types of scenes in films can be roughly divided into the following six types: 1) Interior scenes in studios, artificial scenes specially built for film shooting. The space of this kind of scene is limited, the shooting environment must be completely arranged, the light processing can be more delicate, and the shooting is not restricted by natural conditions. 2) Exterior scene: a scene of natural landscape in nature. The space of this kind of scene is relatively large, and it is often necessary to choose a part to shoot, or to process the part before shooting. Due to the limitation of natural light, the timing of light must be selected for light processing. 3) Real scenes of natural buildings where humans live and move. The existence of these scenes is often not for film shooting. This kind of scene space is very real and has the atmosphere of life. However, there are obvious architectural structural relationships, and there are certain restrictions on shooting. 4) Location - a scene specially constructed artificially in a selected natural environment according to a certain proportion for the purpose of filming the film. The space of this scene is relatively reasonable and meets the shooting requirements of the film. However, the requirements for the overall art design are relatively high and will also be limited by natural light. 5) Stunt synthetic scenes are artificially constructed and are small-scale artificial scenes used to coordinate with stunt shooting. This kind of scene is usually a model scene, which needs to be shot together with the actual natural scene. The perspective and proportion of the art design are very important. 6) Computer simulation scene is a virtual reality scene environment created by computer (digital) technology. In modern movies, the composition of movie scenes has the following characteristics: 1) The screen space of the movie is composed of multiple types of scenes in different orders and ways. 2) In the same scene, one scene can be carried out and performed, or multiple scenes can be carried out and performed. 3) A scene can unfold in a set of scenes or multiple sets of scenes. 4) The visual effects of the scenes in the film participate in the narrative and styling of the film, thereby promoting the development of the film's plot. 5) Scene changes are becoming more and more diversified. 6) In the composition of the film, scenes alternate and are used more and more frequently. 7) The emergence and use of knife stunt synthesis and virtual reality scenes are becoming more and more widespread. 8) The scenes in the film increasingly influence and determine the style of the film in terms of visual shape and style. A movie scene is first of all a spatial relationship, which stipulates and restricts the composition and processing of characters, narrative, action and dialogue in a certain paragraph of the film. Scene is a macro concept, or it can be a specific concept, such as: playground (street, riverside, kitchen, bathroom, car). Scenes in the film may or may not have geographical restrictions. 1 A suburban villa is technically a scene. However, in actual shooting, we often divide the indoor scenes and outdoor scenes into two different scenes in terms of shooting and presentation. There is also a movie scene. The relationship of time stipulates and restricts the time relationship of the narrative and actions expressed in this scene. As we often say: in terms of film narrative, changing the lens means changing time; changing the scene means changing time; changing the scene means changing space. Through the analysis of the film and the film, we found that the selection, utilization, arrangement and composition of the scenes in the movie will affect the following issues: 1) The scene determines the style of the film: the selection and specific use of the scene determine the overall style of the film. Determines the narrative style and styling style of the film. We often say that the location is conducive to the atmosphere of the film. Interior scenes are conducive to the use of light in the film; real scenes are conducive to the spatial expression of the film. The exterior scenes represent the artistic conception, the interior scenes represent the drama, and the real scenes represent the arrangement. 2) The scene affects the spatial feeling of the film: The appearance of exterior scenes in the film, regardless of the length and number of scenes, will form an overall spatial scale in the film. Feel and effect.

In the interior shooting, we will have the opposite feeling, it seems that the film space changes more, but it is incomplete. 3) The scene restricts the shaping of the character image: The use of exterior scenes in the movie makes the expression of the character more environmentally based, making the character more credible in the narrative, and more conducive to the shaping of the character image. The application of interior scenes optimizes the modeling elements of photography, which is more visually conducive to the shaping of characters, and more importantly, is conducive to the performance of characters. 4) Scene relationship and tonal composition of the film: Due to conscious and unconscious changes in the scenes in the film, the tonal relationship in the film will change greatly, which can constitute different initial tonal effects of different scenes in the film. 5) Scene determines the completeness of a narrative plot: a scene in a movie can clearly and clearly complete a relatively independent and complete narrative plot, or it can only express a small part of the narrative plot. In the film production process, we must also pay attention to the role of scenes in the film. A play is an expressive language, a name that actually adds a section, and it is also an expression of an independent event. The actual situation is often that a scene may be completed in one scene, or it may be completed in several scenes. Since the role of scenes in a power plant is very important, we are required to be particularly authentic and accurate when selecting scenes. According to our analysis of modern movies, the composition of scenes in movies is becoming more and more flexible, and the number of scenes is becoming more and more abundant. This is conducive to the narrative of the film, the shaping of the characters in the film, and the expression of the style of the film. Therefore, the rules of use of movie scenes are something we need to conduct detailed analysis. -------------------------------------------------- ------- Five Scenery Scenery in a movie is a language of expression in the form of a visual perspective of movie shots and pictures. On the surface it is a styling element, but in fact it is a means of teaching. The most fundamental meaning of scene separation is to express the scope of the picture. The division of movie scenes generally has the following forms; l) long shot, 2) long shot, 3) wide panorama, 4) panorama, 5) medium shot, 6) medium close shot, close shot, 8) close-up, 9 ) close-up. Scenery in a movie is one of the external forms of the film’s visual effects and director’s language style. Determine the style of the film, the narrative style, the party style, and the director's style. In the process of analyzing the film, the focus of understanding the quality of the film is the entire film, not a specific shot. The focus of the analysis is on the following aspects: 1. In the entire narrative process of the film, what kind of shots and scenes are the main ones? What is the dominant trend in the film? What role did it play in the style of the film? 2. What kind of shots are used for dialogue shots of important characters in the scene? What are the rules and characteristics of the changes in shot scene? How does it help to promote the characterization and narrative in the film? 3. What are the unique characteristics of interior scenes in movie scenes? What are the unique characteristics of exterior scenes? What is the effect of these two scenes intertwined? In particular, we need to analyze what role the scene play in the performance and expression of characters, narrative, dialogue, and action in exterior and interior scenes respectively? 4. What are the characteristics of the application of the opening shots and ending shots of each scene? What are the rules for scene changes in shot editing? 5. How much does the scene change throughout the film? What impact does it have on the rhythm of the film? How does this change in sceneries help the narrative of the film? 6. Analyze what characteristics and forms the characters’ movements and camera scenes have in the action scenes? 7. What effect does the use of scenes and the final effect of the picture have on the style of the film? 8． What impact and help does the use of different sceneries have on the composition of the picture? 9． What effect does the application of scene analysis have on the atmosphere of the environment, the expression of space, and the scene? 10． Analyze the expression of character images and character actions in different scenes. The films we watch sometimes assign a specific scene to a character. In some cases, different scenes have different characters, different narrative contents, different emotional requirements, and different action expressions. will play a very important role. 11. Analyze the role that the film's sceneries play in the film's rhythm. -------------------------------------------------- ------- Six Spaces In theoretical analysis, the space of a film is a less specific concept. At the same time, the space of the film is an overall concept of expression, which cannot be separated from the narrative and theme of the film. The space of the film is a function word in the expression of film shooting, and an adjective in the theoretical analysis of the completion of film shooting. However, in the creation process of the film, space is the embodiment of the specific scenes of the film. Often in the process of our understanding of movies, the space of movies is a relatively broad, less specific or even vague concept for us. Our sense of cinematic space generally comes from our concept of existence. So, what are the characteristics of film space? 1． The clarity of film carrier space. It is also what we call the two-dimensional space of the screen. The screen space of a movie is limited, flat, and concrete.

The spatial relationship we see is formed on a two-dimensional plane relationship. 2. The hypothetical nature of film representation space. The three-dimensional space we see on the screen is a hypothetical three-dimensional space. Movies use optics, color, and tone to create a spatial relationship and spatial effect in which the physical (eye) experience is concrete and the psychological (brain) experience is false. 3. The film feels spatially comprehensive. Our perception of film space is a comprehensive process of physical and psychological perception. It is both screen and imaginary; it is both concrete and hallucinatory; it is both two-dimensional and three-dimensional; it is both expressive and representational. 4． The reality of the space inside the film and the imagination of the space outside the picture. Movies use the limited spatial layout inside the painting to express the infinite spatial relationships outside the painting. We often use partial and incomplete space within the painting to express the overall spatial relationship outside the painting and stitch together the audience's psychological imagination. In the process of analyzing film space, we must analyze the following issues: 2. Does the main spatial composition in the film participate in the narrative and styling of the film? The existence of space in movies generally serves as the environment in which events occur to help the film complete the narrative. The space of the film is not only the specific place where the event occurs, but also the main carrier that promotes the development of the event. For example: In the movie "Red Sorghum", the sorghum field became an important environmental basis for my grandfather and my grandmother to express their emotions in the film. The space of the scene expresses the characters and reflects the personality. The space of the film directly serves as a narrative element and modeling element, becoming the visual and aesthetic subject of the film. 2. Does the jump in the main space in the film constitute a huge contrast? In the American film "Braveheart", the alternation of the regional scenery of Scotland and the ancient enclosed castle creates a huge contrast in space and atmosphere, which has a profound impact on the narrative and style of the film. It has played a great role. 3. Is the space of the film symbolic? The space in the movie is not only the carrier of the theme, but also the narrative environment; it is both the visual style of the film and the modeling style of the film; therefore, the space in the movie has great expressive and symbolic significance. For example: In the movie "Raise the Red Lantern", the red lanterns and black lanterns in the house have become symbols of the characters' way of life and their destiny. The closed, gray house serves as an environment, a symbol, and a A style, as a story and styling element of a film, plays an independent role in the film. 4． What is the form of film space? In modern movies, the spatial symbols and expressions of movies mostly exist in two forms: 1) One is the overall spatial symbol of the movie. Use the main scenes selected in the film to symbolically echo the theme of the film from an image perspective. 2) One is the local spatial symbol of the film. Use a very distinctive scene in the film to express the characters or plot from a specific perspective. The creators of the film mostly use these two methods to help deepen the concept of the film. For example: In the film "Yellow Earth", a large number of symbols of the spatial relationship between the land, the Yellow River, cave dwellings and the whole in the exterior scenes are used to reflect the five thousand years of traditional culture and style of the Chinese nation in the film. For example: the film "Red Sorghum" "", there is a scene where my grandfather and my grandma join together in the sorghum field. The specific scene space of the sorghum field hints at the nobility of human life and the greatness of human nature. For example: in the film "Ju Dou", the interior of a closed dyeing workshop is used. It is a symbol of spatial relationship to show the prosperity and development of the dyeing workshop, to show the decline of a family's life and the decline of ethics and morality. For example: in the American film "All Gold Shell", the bathroom of the soldiers in the Marine Corps barracks is. A typical symbol of closed and partial space relationships not only well expresses the mental distortion of several soldiers under the repression of human nature, military oppression, and environmental oppression, but also expresses the shocking incident of a soldier who was dissatisfied with the officer's style in the military system and shot a sergeant. . 5. Does the expression and performance of the film space have unique visual modeling characteristics? In addition to completing the film's narrative and shaping the characters, the film's environmental space also has unique visual modeling characteristics. For example: the film "Raise the Red Lantern". 》From the characteristics of the Zhudang shape in the picture, it expresses the devastation of feudal society, feudal system, feudal family and ethics on people.

For example: the open expression and processing of the spatial environment in the first half of the film "Ju Dou", after the film