In film reviews, red lanterns are hung high, so we should pay attention to the expression of the theme of the film by the screen modeling elements (scene, angle, composition, etc.). )

Humans imprisoned in high-walled courtyards

-Audio-visual language analysis of "Hanging the Red Lantern"

The movie "Raise the Red Lantern" 199 1 was released, which was adapted from Su Tong's novel "Wives and Concubines in Groups" and directed by Zhang Yimou. After the film was released, it won many awards at home and abroad, with good results and great response.

Watching the whole film, the most direct feeling is repression, the kind of repression of human nature. The story begins in summer and ends in summer. This is a story without spring and hope.

Next, I will talk about some views on the film from the aspects of theme, lens and color.

First of all, on the subject, this is what I want to say most. The film tells the story of the distortion of human nature after Song Lian married into Chen Jiahao Gate, and the film expresses that the residual poison of covering up his thoughts imprisons human nature.

As soon as you enter the waiting door, your conscience is a passer-by This is the most appropriate way to describe Song Lian. Song Lian's human nature is distorted because of two people, two people who should be close to her, namely, Song Lian's stepmother and the boaster, Master Chen. But it was these two "relatives" who personally buried Song Lian's happiness and freedom. In the film, Song Lian's stepmother didn't show up from beginning to end, and Master Chen didn't have a close-up from beginning to end, giving people only the back. Judging from the director's character setting, we can read one thing, that is, stepmother and grandfather are not a distinct image, but they can all be regarded as representatives of feudal paternalism in the film. They didn't close the door or show up, but they can decide a person's fate. Here comes the director.

As soon as you enter the waiting door, your conscience is a passer-by Song Lian was originally a kind-hearted student, but since she married Chen Fu, three people were directly or indirectly hurt by Song Lian, namely Yaner, Meishan and Zhuoyun. Yaner died, in Song Lian's secret. Although Song Lian can't be blamed for Yaner's death, she has an unshirkable responsibility for Yaner's death. Meishan also died, and died in Song Lian's drunken snitch.

"Life is like summer flowers", the film begins with a conspicuous scarlet letter on a black background. This is especially true in women's lives. Bloom like summer flowers, at your most beautiful age. However, the women in the film grew up in a fertile land of feudalism, so there is a terrible dehumanization around them. It is precisely because of this that this "Four Seasons" is destined not to last as long as Vivaldi's "Four Seasons", but to be more vivid and cruel than what music shows.

The only important man is the "grandfather" who runs through waves of women and connects different concepts of the old and new times, but he has never appeared clearly in the film from beginning to end. This always blurred face made the audience almost ignore his existence, just like the "Chen Jiagui" he represented constantly emerged from the housekeeper's mouth. All this has been blurred and gradually left us. His voice came from several empty scenes in the film, which seemed so empty and powerless, as if it had happened in a previous life. I really don't know where that voice came from and how far it is from us. ...

This is a woman's play. The huge courtyard with red lanterns hanging high is like a stage with a feudal background, which is nothing more than a woman's play. It's just that the play has been played for too long, and the result is always tragedy and the characters are sympathetic. However, it is cruel and realistic, and it is the epitome of many stages for thousands of years.

It is too crude to describe a woman's life with "lighting, turning off the lights and sealing the lights", and it is by no means enough to show the most beautiful time in a woman's life, such as summer flowers. But a "light block" can push women into the abyss, and with the ridiculous and pathetic rights of men, they can use invisible but extremely lethal weapons that are constantly mentioned in feudal "old rules" films. Sealing the lights officially kicked off the tragedy on the stage; Autumn, for this coming winter, illuminates the road ahead of time.

When a maid was punished and knelt in the yard because of the extravagant hope of "wanting to be a wife", the audience really realized that winter was coming when they saw snowflakes falling on her at night. And the fate of the maid is only the prelude to this sad song. When the red lantern ordered by the maid was destroyed by the fire, the dream was shattered and the courtyard was silent. Why? Because even if it is extravagant, I have to say that this maid is probably the only person who has "hope" in this deep courtyard. Her lantern was destroyed and her dream was shattered. All that's left are those stupid servants who are carrying lanterns and marching on with small steps, and those wives who are struggling in despair but waiting for death.

This winter is particularly long, this season, there is no spring. ...

The audience is waiting for another summer, another reincarnation.

The short film 125 minutes condensed the deformed four seasons and the life of women in feudal society. ...

Meishan and Yaner died not so much in Song Lian as in Chen Jia's "rules" and feudal system, because Song Lian was also a victim, a victim of Chen Jia's "rules" and a victim of feudal etiquette.

In the film, we can see a procedure repeatedly, that is, lighting, hanging lights and sealing lights. Also, we can hear a sentence repeatedly from the mouths of housekeeper Chen Baishun and Er Yi, "According to the rules of our ancestors!" Rules, rules! What are the rules? In the Chen family, lighting, hanging and sealing lights are all rules, and Master Chen's words are rules! The high-walled courtyard of the Chen family is the rule!

In the Chen family, rules can't be broken. Violators were hanged in a small stone house on the roof. This is the only thing that can pass through Chen Jia's high-walled compound.

However, if you break the rules, you will die. What about those that don't? There are only two kinds of people left in the high-walled courtyard of the Chen family. One is insensitive, "| looks down on life and death", the first wife is such a person, the housekeeper and the second aunt are such a person, and besides such a person, there is another one, that is, Lian Fang! And her madness proves how this ends.

In the film, we can often see such a shot, a quadrangle, or a door, or curtains around the bed, but all of them are in the shape of a "mouth", and this mouth, together with the people inside, constitutes such a word! Prison! Song Lian is among them, Yaner is among them, and the Chen family is among them. It imprisons not only people, not only the body, but also the spiritual soul and freedom.

The cage of the Chen family is not a sign of a high-walled courtyard, but an ancestral rule. Broadly speaking, it is feudal thought and system, and people in cages have various manifestations.

As the saying goes, where there is oppression, there is resistance. Meishan and Song Lian were both rebellious, but all ended in tragedy. Meishan is dead, and Song Lian is crazy. Seeing this, in addition to giving people a heavy surprise of fate, what impressed them most was the firmness of the Millennium feudal cage, which is unimaginable and has a long way to go!

In contrast, there are a group of people, namely the first wife and the second wife, as well as the housekeeper and the second aunt. I don't think they have resisted, and they must have resisted, but they failed, and then turned to the other side, the guardian of the feudal system.

Secondly, talk about the lens. When shooting characters, films often use medium shot and close shot. The characters only occupy a small part of the picture, and the background is the tall Chen family wall. This kind of picture makes people feel the smallness of the characters in the depths, as if the characters were lost in high-rise buildings, giving people a heavy and irresistible sense of destiny.

In the composition of the picture, the picture is mostly claustrophobic square. As for the center of the picture, the characters are figurative, meaning: prisoner!

Thirdly, in terms of color, the film is also quite brilliant. Generally speaking, there are three main colors, and each color has a certain function. These three colors are red, gray and white.

The main items of red are lanterns hung high and gowns worn. Red is usually considered as the color of celebration in China. In addition to the red lanterns at the two weddings, other meaning is also red in the film. I understand it as a desire, a repressed desire. Of course, this is my personal understanding.

Gray, gray is the main color of the Chen family courtyard, which gives people a calm and heavy feeling and is a cool color. The thick high-walled compound gives people a depressing feeling, which means that many rules are on everyone, which means that the feudal cage is indestructible.

White, speaking of white, the white in the film is mainly the color of blood. It snowed several times, once the geese knelt in the snow, once after Meishan died, and once at last. Speaking of snow, it reminds me of one thing, that is, pale money and white banners after death; Si Nuo attended the funeral. The first time, it sent Yaner away, the second time, it sent Meishan away, and the last time, Song Lian walked in the snow wearing a student costume. At that time, she was crazy. What is it this time? Besides everything about Song Lian, there is also the happiness of her new fifth wife.

Finally, I want to talk about the final ending of the film. Master Chen married the fifth wife. It is still summer, but there is still no spring. On the day of the fifth wife, it snowed again. This is a metaphor, which means a continuation, a continuation of tragedy and a continuation of feudalism.

"Life is like summer flowers", the film begins with a conspicuous scarlet letter on a black background. This is especially true in women's lives. Bloom like summer flowers, at your most beautiful age. However, the women in the film grew up in a fertile land of feudalism, so there is a terrible dehumanization around them. It is precisely because of this that this "Four Seasons" is destined not to last as long as Vivaldi's "Four Seasons", but to be more vivid and cruel than what music shows.

The only important man is the "grandfather" who runs through waves of women and connects different concepts of the old and new times, but he has never appeared clearly in the film from beginning to end. This always blurred face made the audience almost ignore his existence, just like the "Chen Jiagui" he represented constantly emerged from the housekeeper's mouth. All this has been blurred and gradually left us. His voice came from several empty scenes in the film, which seemed so empty and powerless, as if it had happened in a previous life. I really don't know where that voice came from and how far it is from us. ...

This is a woman's play. The huge courtyard with red lanterns hanging high is like a stage with a feudal background, which is nothing more than a woman's play. It's just that the play has been played for too long, and the result is always tragedy and the characters are sympathetic. However, it is cruel and realistic, and it is the epitome of many stages for thousands of years.

It is too crude to describe a woman's life with "lighting, turning off the lights and sealing the lights", and it is by no means enough to show the most beautiful time in a woman's life, such as summer flowers. But a "light block" can push women into the abyss, and with the ridiculous and pathetic rights of men, they can use invisible but extremely lethal weapons that are constantly mentioned in feudal "old rules" films. Sealing the lights officially kicked off the tragedy on the stage; Autumn, for this coming winter, illuminates the road ahead of time.

When a maid was punished and knelt in the yard because of the extravagant hope of "wanting to be a wife", the audience really realized that winter was coming when they saw snowflakes falling on her at night. And the fate of the maid is only the prelude to this sad song. When the red lantern ordered by the maid was destroyed by the fire, the dream was shattered and the courtyard was silent. Why? Because even if it is extravagant, I have to say that this maid is probably the only person who has "hope" in this deep courtyard. Her lantern was destroyed and her dream was shattered. All that's left are those stupid servants who are carrying lanterns and marching on with small steps, and those wives who are struggling in despair but waiting for death.

This winter is particularly long, this season, there is no spring. ...

The audience is waiting for another summer, another reincarnation.

The short film 125 minutes condensed the deformed four seasons and the life of women in feudal society. ...