How to write the film review of Yellow Land?

"Yellow Land" is one of the outstanding representatives of China local films that I have contacted. Originally, I thought that 1984' s China Film had no special effects and did not invest a lot of money, so it should be difficult to agree. However, after watching it, I feel that movies made with artistic heart are definitely much better than a bunch of cultural bubbles that look like movies. Space and time are limited, let's start with technology.

The use of light in the film is very representative, but because of the simple viewing conditions and the influence of some main conditions (limited personal study and average understanding), let's talk about it. Most scenes in the film use low-key lighting from Gao Fancha, and the background is dark and deep. For example, in the scene where Dad sang the song the night before he left Gu Qing, the light of the oil lamp in the cave was as weak as a bean, which just lit up Cui Qiao's face, so that he could see the wrinkles on his face like dead trees and vines-a typical yellow land man's face. Non-standard lighting techniques are often used in lighting, such as dark contrast lighting in caves. Cui Qiao sat in front of the door making shoes, and Gu Qing came back with a silhouette light. The main body was dark and the background was bright. Of course, the film also makes full use of natural lighting for plane lighting to create a realistic and natural film.

Color is a lyric symbol of film and television pictures, which can convey feelings and express emotions. The use of color in the film is the perfect combination of freehand brushwork and realism. On the one hand, it makes the picture have the effect of oil painting, on the other hand, it also expresses the theme. Mainly yellow, red and black, each with its own representative, but its meaning changes with the change of plot and theme expression. Yellow represents yellow land and people raised by yellow land. The yellow land not only has the display of high-energy color-orange in the morning, which gives people a deep and tolerant feeling, but also has the performance of low-energy color-gray-black in the evening, which gives people a heavy and depressed sense of suffocation. On the one hand, red is the tragic color of closed and backward marriage, such as the bride's little red shoes, on the other hand, it is also the vigorous vitality of the younger generation and the determination to explore the way to save themselves, such as the simple red belly pocket. Black is relatively simple here, mainly showing pain, fear and despair, such as the rough gray-black hands in Cui Qiao's new room. The organic combination of three colors makes the film very expressive. There is another color that is extremely special and important. The sky is always gray or gray-blue. The appearance of Gu Qing, his reappearance in Begging for Rain, and his performance in Yan 'an waist drum all present a large blue sky with extremely high brightness, which is a vivid expression of hope and contains beautiful feelings and demands.

Most of the films are composed horizontally, and a large piece of rolling yellow land occupies most of the picture. The horizon above the picture shows a thick and distant yellow land, which is ups and downs. For people, the dominant negative volume is used, which makes people occupy very little space and only work and rest in a corner of the picture. Such a strong contrast shows the individual's weakness under the background of big environment and traditional culture. Even the "public officials" who often appear as tall people are just like ants and flies. For example, the emergence of Gu Qing, a public descendant, used this technology at the beginning. The yellow land is the protagonist and the people living in it are the foil. Guided by the vast yellow land, they look small and pale. However, there are also some situations in which the composition balance is unstable, which is mainly reflected in the use of inclined horizon.

The use of film lenses is also very distinctive. The film is good at using wide-angle lens and large depth of field to broaden the line of sight. For example, at the beginning of the film and several transition scenes, the depth of field is always as large as possible to reflect the scenery, showing the emptiness and remoteness of the yellow land. And this yellow land is the mother who raised the Chinese nation. It gave birth to China's thick, closed and forbearing inland civilization of China, full of human feelings, but with traditional dependence, which has great binding force on people. Empty shots are often used, mainly facing the Yellow River, the land and the sun, without the participation of characters, only throwing away the scenery, injecting great appeal and expressiveness into the film. For example, a waist drum lens gathers strength, pushes and pulls the performance screen through the shaking of the lens, exaggerates the image with a wide-angle lens, increases its boldness and boldness, and has great emotional impact and spiritual strength, impacting the senses and soul, reflecting the thrilling sound sprouting from the barren yellow land.

From the shooting point of view, overhead shots and overhead shots are widely used in the film, which also have certain ideographic functions. For example, both Gu Qing's appearance at the beginning of the film and his reappearance in begging for rain used backhand. Gu Qing's figure gradually appeared on the empty horizon, moved to the front of the screen, and then the camera moved up and shot up, reflecting a blue sky. This is an affirmation of Gu Qing's image-building, and it also implies the possibility that the people represented by Gu Qing hope that the people in the Yellow Land can get rid of their predicament. The admiration for the vast yellow land shows people's deep love and awe for this "mother land". High-altitude photography allows the audience to have a panoramic view through the camera lens, showing the face of thousands of valleys formed by wind and sand erosion on the yellow soil, and can also produce special performance effects. For example, the pat on the tracker along the Yellow River reflects the pity and sympathy for the weak who are struggling to survive. There is also the fragment of Cui Qiao sitting on a burden after listening to Gu Qing's songs, which is the turning point of Cui Qiao's emotional changes. However, the lens is in sharp contrast with the high sky, barren and empty yellow land and faintly visible weak figures, which suddenly highlights people's sense of smallness, powerlessness and helplessness in the big environment, and also hints at Cui Qiao's tragic ending.

Music is the soul of the film, and folk songs in northern Shaanxi constitute another narrative language of the film. Cui Qiao's father, Cui Qiao, Han Han and Gu Qing, four people's different songs all reflect their character and destiny. The song closely follows the development of the plot and expresses the theme more vividly. In addition to these, there are many other ingenious applications of film techniques in the film. The use of close-ups shows the psychological changes of the characters in detail. For example, Cui Qiao happily took the water home and opened the door to see the matchmaker. Of course, the joy on her face disappeared at that moment, and she nodded helplessly. There are many overlapping applications, such as Gu Qing walking on the hillside at the beginning, and the fuzzy sun and hills appear in the background, which shows that he runs around Dai Yue day and night, and also shows the vast yellow land from the side. The fuzzy background plays the role of setting off the main characters when Cui Qiao carries water. When Cui Qiao was behind the water, people moved to the camera, but the surging Yellow River continued to flow to the right. The separation motion of the two separation vectors on the Z axis gives people the illusion that the characters will be swallowed up by the river at any time, which coincides with the ending of the characters. The film uses repeated montage techniques in editing, the same little red shoes, the same suona, the same donkey and the same process of moving forward, showing that different women are repeating the same tragic fate under this marriage. There are still many, we should savor them carefully.

A good film can allow wonderful plot development, but it can still use superb film skills in simple plots, and it can contain big themes in short stories, which can better show its strength. It can be said that "Yellow Land" has done it. Today, with the movie fast food flooding the cinemas, we may gain more and think more by choosing such a movie.