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Preface. The Return
It is an excellent work by director Zhang Yimou, and it is amazing in terms of artistry and box office revenue.
Zhang Yimou has created many unique films before, from.
Red sorghum. Arrive.
The Red Lantern Hangs High
His film style gradually changed from art films to commercial films, and he is now an experienced director looking for new breakthroughs in filmmaking.
The Return realizes Zhang Yimou's dream in terms of creation, he has a clear creative goal, carefully chooses the subject matter, and tells the story with a unique video style.
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No matter which angle we analyze this film, it contains rich artistic connotations.
The success of a good film starts with choosing an excellent story theme, and then using a narrative method suitable for the theme to establish a unique image style, and finally creating a metaphorical aesthetic conception. At. The Return
, the director uses the language of images to interpret the story, showcasing his rich experience and skills.
The film presents a rich story to the audience by skillfully dissecting and presenting the imagery.
Zhang Yimou's directing skills make the film full of deep meaning and charm, and he is very sophisticated in the use of image language, showing the director's creativity and wisdom.
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One. In Zhang Yimou's films, he often skillfully turns a casual object into a key role in the film through composition.
"Objects" help the story complete the narrative and make the whole movie full of charm.
For example, in. No one is missing.
, often appears.
Chalk" makes the audience feel that even the use of chalk in poor areas is extremely restricted, and this small detail plays a finishing touch in the whole narrative and adds to the charm of the film.
In Zhang Yimou's films, he pays attention to detail, bringing ordinary objects that are common in real life to life through skillful treatment and dotting.
Although this composition is concise, it is full of fullness, allowing the audience to feel the fineness and ingenuity of the film, and he is good at embodying big themes through small details, making the film full of deep meaning.
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Zhang Yimou's compositional art is most praised for his ability to see the big from the small, and he makes the whole film richer and more vivid by carefully handling details and making ordinary objects vividly represented in the film.
In Zhang Yimou's films, details are key, and his films are full of ingenuity and artistry, and through these carefully conceived small details, he successfully conveys the themes and emotions of the film, making the film even more engaging.
Movie. The Return
At the beginning of the show, a black night is shown, the train is roaring into the distance, and a black shadow looms, which turns out to be the protagonist Lu Yanzhi.
This scene alludes to the scene of the individual being crushed under the wheels of history, and the appearance of the subsequent trains also has special significance: once the train comes empty, suggesting the plot of landing Yanzhi being arrested; Another train was laden with black coal, symbolizing the youth burning their youth for the revolution like coal.
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The train becomes a symbol of the possibility of the characters leaving, and the train station becomes a symbol of the "return" of the protagonists, but it also represents the part of the soul that can never return, Feng Wanyu waits for her husband, and her husband also accompanies her to wait for the "return" of "herself".
These train scenes express the moral of the film through images, allowing the audience to have deep feelings and thoughts.
Two. Director Zhang Yimou is particularly adept at using color in his films, because color is an element that can instantly evoke emotions.
By carefully choosing the colors in his films, he creates a colorful world of imagery.
From the movie. Loess. "Yellow" in
color, to. The Red Lantern Hangs High
And. Red Sorghum. red".
color, and then in "Heroes". Black" color and.
red" color and other dazzling shades, and then.
The city is full of ** armor".
. Golden yellow".
We can see that he skillfully combines color with imagery, using color to convey the emotion and narrative of the story.
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He successfully combines color with Chinese cultural imagery, making the film more profound cultural connotation and meaning.
Through this use of color, he creates a unique visual experience for the audience, immersing the viewer in a colorful and emotional world in the film.
In the movie, Dandan is dressed mainly in bright red, fuchsia and dark red, with red representing revolution and hope.
Just like at the beginning of the movie, Wu Qinghua was there.
Red Detachment of Women
Wearing bright red clothes, it also symbolizes the spirit of the revolution.
And after Lu Yanzhi escaped home, he stuffed a note for his wife, and the note was also a corner of a red couplet, which symbolized hope.
Therefore, Dandan wears red clothes to show a confrontational side with her parents, and at the same time represents her hope to change the family.
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On the other hand, Feng Wanyu's clothes are mostly gray, dark blue, and dark brown, which implies that life without her husband Lu Yanzhi is gray for her, and she has been in a state of sadness.
These colors express her inner emotions and make the audience feel her helplessness and loneliness. Through the color selection of the costumes, the director skillfully expresses the mood and emotions of the characters, allowing the audience to understand the stories and mental journeys of the characters more deeply.
In the movie, Lu Yanzhi's clothes are always black, and even his face is black, black is a very inclusive color, giving people a heavy feeling, but also with a sense of solemnity and concealment, and it also looks noble.
This inclusiveness is not only reflected in his tolerance of his daughter in the film, but also in his tolerance of being imprisoned.
Master Fang: "Forgiveness from the family.
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Lu Yanzhi was burdened with too much guilt, pressure and suffering that should not belong to him, and his black clothes also made people feel his heaviness and suffering.
By the time he wrote a note to his wife, he probably had a premonition that he would not live long, or that there was little hope that the Cultural Revolution would end.
When he walked out of the train station in a black robe, he reflected his solemnity with hope and disappointment, youth and old age, and cherishing and waiting for that love.
Black also brings concealment, Lu Yanzhi was sent to the farm for transformation, and his life suddenly changed dramatically, and he needed to endure and endure a lot of difficulties.
When he fled home to see his daughter, she was reluctant to see him and even blamed him for affecting her and his wife's lives.
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After returning home after being rehabilitated, he found that his wife did not recognize him, and he may have been "bullied" by another person, and he needed to endure these pains, and it took great courage and strength.
Three. As a director with a background in photography, Zhang Yimou knows very well how to express the emotions and artistic conception of the film through vision, although the film is a dynamic art, it is composed of a series of shots.
Therefore, for Zhang Yimou, composition is very important, and he believes that in a limited picture, it is subjective to decide what to shoot and what not to shoot, and how to arrange the position of the subject and the accompanying body.
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in the movie. The Return
Zhang Yimou used this concept of composition to bring a unique style to the film.
Through the careful arrangement of the pictures, he expresses the themes and emotions very deeply. Each shot was carefully selected by him to present a different meaning and feeling.
Because of his compositional skills and unique visual representation, cinema.
The picture of "The Return" is very engaging, and the audience will be moved by the atmosphere and emotions he creates while enjoying the movie.
This trade-off and expression makes the movie "The Return" visually full of artistic charm and leaves a deep impression on the audience.
In the film "The Return", the director specially set up some indoor props, which have special meanings, and need to pay attention to these symbols in the film analysis, just like the analysis of a stage play.
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At the beginning of the movie, Instructor Deng and Comrade Liu came to Feng Wanyu's house to verify the situation.
In the shot, Dandan and Director Li have a portrait of *** erected in the background, while Feng Wanyu only has a simple bookcase in the background, and the portrait of ** has a strong political connotation, suggesting the class position and political tendency of the characters.
At the same time, a prop for boiling a water stove also appears in the movie. When Lu Yanzhi returned home three years later, this stove had replaced the table and chair where Instructor Deng and Comrade Liu were sitting, symbolizing the substitution of personal hope and warmth for political discourse.
This stove also appeared when Lu Yanzhi was driven into the room, suggesting that his heart was full of warm hope, but the damage was too deep, making his hope ethereal. Upstairs.
When Lu Yanzhi took the spoon and was about to take revenge, the same "stove" appeared outside the door of "Master Zhang's" house.
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Towards the end of the Chinese New Year, the "stove" in the house was still left deserted outside the door, suggesting that his wife had become disheartened with him.
The setting of these props cleverly expresses the hope and warmth in the hearts of Feng Wanyu and Lu Yanzhi, but due to the injuries and encounters they received, their hope and warmth become unrealizable and cannot "return" in their hearts.
These detailed props carry a deep meaning in the movie, allowing the audience to have a deeper feeling of the protagonist's mood and emotions.
in the movie. The Return
"* is an important imagery with narrative and thought-provoking meaning.
When Lu Yanzhi returned home, he saw a ** on the table, which was a red note he wrote to his wife when he was young and ** for his daughter to learn ballet.
And next to **, there is also a mother holding her daughter**, it is estimated that when Lu Yanzhi was just caught, her daughter Dandan was only two years old.
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Later, in order to let Feng Wanyu recall Lu Yanzhi, Dandan found a photo album, but in the album, Dandan cut out all Lu Yanzhi's ** from the group photo, making Lu Yanzhi an absent existence in **.
The photo of David Yu and Gong Suzhen with Lu Yanzhi and Feng Wanyu when they were young means that youth has passed, the changes of years and the vicissitudes of life.
After going through so many tribulations, Lu Yanzhi's hair was gray and old, and he was full of emotion when he saw the ** of his youth. David Yu committed suicide, Feng Wanyu lost his memory again, and the years changed, which made people sigh that time had passed.
These ** carry a wealth of emotions and meanings in the movie, allowing the audience to think deeply about the passage of time, the changes in memory and the changes in life.
They are an important element of the film's narrative and help us understand the inner world of the protagonist more deeply.
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Epilogue. in the movie.
The Return, director.
Zhang Yimou. The quest for a silent form of expression, he describes:
extreme" subtle and unique.
His approach to filming is also ingenious, using the tip of the iceberg, showing only a small part of the story, while leaving the rest to the viewer to imagine and supplement.
The "Return" movie is very different from the original book ** "Lu Yanzhi", the movie only tells the story of Lu Yanzhi returning home from Qinghai, while ** covers his life from 1921 to 1989.
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Like the tip of an iceberg, the director presents only a part of the story, leaving the audience to recall and imagine the unshown parts on their own.
Through the implication of the image and the iceberg theory of the whole story, the director skillfully uses the language of film, allowing the audience to immerse themselves in the situation of the film and independently experience and understand Lu Yanzhi's life process.
This technique makes the film more in-depth and enjoyable, allowing the audience to have more resonance and perception in thinking and imagination.
References. Jia Leilei. "What is a Good Movie: From the Interpretation of Language and Form to Cultural Value".Beijing: China Film Publishing House. 2009.
Su Zhuang. "The Art of Composition in Zhang Yimou's Films".Journal of Chengdu University2009.
Zhang ming. "Dialogue with Zhang Yimou".Beijing: China Film Publishing House. 2004.
Li Xiaochen. "From Lu Criminals - Return - Film Adaptation**Can "A Drop of Water See the Sun"", Literature and Art Daily2014.