What black-and-white movies that can reflect the oriental aesthetics are worth recommending?

Black and white movies are the origin of all movies. The world's first recognized film "Landmark Sea Garden Scene". Although only a short 2 seconds, less than 3 seconds. But it is enough to establish the position of black and white movies in the film industry. Even now, there are many black and white movies that cannot be surpassed. Today, I'm going to introduce some films that can reflect the oriental aesthetics.

Samurai 7

Akira Kurosawa is my favorite Japanese director. Personally, I think the use of light and shadow in his films is the first in oriental films. His film aesthetics can be said to have influenced many later directors. Even the harsh CCTV rated him as one of the greatest directors in film history. No matter in Zhang Yimou's Heroes and Shadows, we can see the aesthetic design imitating Kurosawa.

The Seven Samurai is my personal favorite black-and-white movie, and there is no one. I first saw it in an art appreciation class at the university. This 68-year-old black-and-white film was the acme of composition, photography and aesthetic design at that time. Many scenes in it have a shabby aesthetic feeling, and there is no nonsense in every shot. Black-and-white movies are the most difficult to shoot, and colors can cover up many flaws, while black-and-white movies are straightforward and can only be won by black, white and gray.

This movie is probably about a deserted mountain village in Japan during the Warring States Period. During the wheat harvest, it was attacked by robbers every year. In this year, the villagers decided to hire seven warriors to defend their village and harvest. The seven samurai are Guan Bi, Kuzo, Katsushiro, Goro, air billow, Hirahachi and Chiyo, a peasant who plays samurai. The samurai penetration department is a man with vigorous pace and rich combat experience. He is responsible for directing the whole village to prepare for defense. In the raid on the robber's lair, samurai Jiuzang and Chiyo killed several robbers, but samurai Pingba was shot to save farmer Li Ji. Warriors and villagers armed with shovels and bamboo spears defended the village, deftly repelling bandits' attacks again and again, but in the resistance, Wei Bing of Pianshan Wulang died. On the day of the decisive battle, 13 robbers rode into the village. During the battle, the robbers shot Kucang. Ju Chi killed the last enemy with anger and hatred. He was hit and fell to the ground and died. The robbers were finally eliminated, but the villagers also paid a huge price. Four of the seven warriors were finally killed, leaving four mountain cities to pierce the sky on the graves. After the war, the samurai left the village, and Camby, the leader of the samurai, could not help but sigh: "This is also a defeat ... It is not the samurai who won, but the peasants. (Excerpted from Baidu Encyclopedia)

Even in today's highly developed era of audio-visual entertainment, few movies can surpass the focal plane aesthetics of the Seven Samurai. The lens aesthetics inside is the textbook of modern movies. For example, this appropriately blank lens can not only highlight the main body, but also create an atmosphere as the background.

Crowded scenes are the most difficult to shoot in black-and-white movies, which tests the director's composition and photography skills. Director Kurosawa also provided us with a textbook-style aesthetic lens here.

Many shots in it can be used as a guide for our art class. I can't imagine how director Kurosawa made the light and shadow of the lens so "perfect" at that time. The characters in it are perfectly set off only by the relationship of black, white and gray, and many oriental aesthetic thoughts are added to the composition. If you want to make it clear how high the aesthetic attainments of this film are, words are very, very difficult to express. Personal recommendation must be read by yourself. Whether it is a story or an aesthetic, only after reading it will you sigh how "perfect" this film is.

Here comes the devil.

Director Jiang Wen is one of my favorite directors in China. He has made many films, all of which are "deified" works. I also think that his use of lens aesthetics is the first echelon of domestic directors. Except for the last shot, which uses color as the inversion, the film almost uses black and white photography. Moreover, when the devil came to the story of this movie, I could actually see the shadow of the Seven Samurai. The big framework of the story is also the real reaction of the people when they encounter hostile forces.

The aesthetic beauty of this film lies in its realism. Different from other anti-Japanese war movies, not all people are "soldiers" when facing the invaders. They will also be weak. The highest level of movies is that people can put themselves in it and think about what I would do if I were him.

The story of the film is the end of War of Resistance against Japanese Aggression, which takes place in a remote village called Guajiatai near Shanhaiguan, Hebei Province. One night, two sacks filled with prisoners were escorted to the home of villager Ma Dasan, one of whom was a Japanese soldier and the other was an interpreter. I promised to pick someone up eight days later, but I haven't heard from them since. When the two prisoners were kept in the village for a long time, the villagers negotiated to put them to death to avoid trouble. At first, the decision of the Japanese arsenal died for the country, while the translator Dong used the language barrier to fight for survival opportunities. After many unsuccessful attempts to execute the two men, the villagers decided not to let them die, so they kept the two prisoners in secret in the village.

Soon, the Kuomintang army took over most of the Japanese prisoners, and Huawu's troops were among them. On a rainy day, Ma Xiaosan pretended to be a cigarette seller and rushed into the Japanese prison camp with a sharp axe. He hacked at everyone he saw, killing and injuring several people. He was finally captured by Kuomintang soldiers and sentenced to death. The execution was carried out by Saburo, the greenhouse with whom they lived day and night. (Excerpted from Baidu Encyclopedia)

According to Jiang Wen himself, he made the whole movie in black and white to set off the bright red blood in the last beheading scene. There are many "vulgar" shots in this film, but these shots are Jiang Wen's unique aesthetic design. That this film has never been shown in our trial. Although these shots are "vulgar", without these absurd plots, the aesthetic attainments of the whole film will be greatly reduced. The aesthetics of metaphor, this kind of metaphor, is very consistent with the thinking of orientals. When orientals want to express something, they will not directly explain it, but will tell you a feeling. Not everyone can see it at the first movie. Personal suggestions can be read repeatedly.

Spring in a small town

Spring in a Small Town is the real movie of the Republic of China. Its narrative techniques and the use of lens aesthetics are quite different from those of most films at present, from which we can also get a glimpse of the "oriental aesthetics" of that period. The scene design inside is also very "oriental". Moreover, the costumes of the characters in the film have a strong sense of oriental sight. Aesthetic style and oriental artistic conception also influenced the aesthetics of a large number of directors later.

Its story narrative, a bit like a dead song in prose, is euphemistic and restrained. The story happened in a small southern town after the victory of the Anti-Japanese War. Another spring has come, and squire Dai Liyan (Shi Yu) and his family-wife Zhou Yuwen (Wei Wei), sister Dai Xiu (Hongmei Zhang) and servant Lao Huang (Cui Chaoming) live as usual. Li Yan lost his family property in the war, was seriously ill, lost the courage to face reality, and was unhappy all day. Sister Dai Xiu is cheerful and lively, full of beautiful fantasies about the future. In the face of the dilapidated condition of the house, Mrs. Yu Wen and her husband Li Yan live a plain life. The husband and wife respect each other, but they have no feelings at all ... (from Baidu Encyclopedia)

The aesthetics presented by black-and-white movies is completely different from that presented by color movies, which often makes people see things in a blur. Black-and-white movies only have black, white and gray levels, which will make people more calm down and see the aesthetic types contained in the movie lock. The female characters in it are very contemporary. There are many cheongsam shapes in it, which are very beautiful even today. As a film in the Republic of China, we can also get a glimpse of the "beauty" in the eyes of the directors at that time. Friends who want to know about oriental aesthetics in that period, don't miss it.