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首页 重庆森林分析(Chongqing forest analysis)

重庆森林分析(Chongqing forest analysis).doc

重庆森林分析(Chongqing forest analysi…

姜贤德
2018-11-19 0人阅读 举报 0 0 暂无简介

简介:本文档为《重庆森林分析(Chongqing forest analysis)doc》,可适用于社会民生领域

重庆森林分析(Chongqingforestanalysis)重庆森林分析(Chongqingforestanalysis)Themostclassicreviewofchongqingforestisreleasedat::Wongsofar,hecompletedatotaloffiveindividualplotfeaturefilms,allfilmbythedirector,anddominatedbyhiswork,suchasphotographycanwind,artZhangShucopies,splicingPatricktam,ZhangShuetc,tocreateunityinthemovietheme,styleandformcharacteristicsandevolutionofacolour,wongkarwaiandthereforeitmaybesaidinHongKongandTaiwandirectortheauthors"style"oneofthestrongestThefilmbeganwiththescript,andMrWongwasgoodatwritingthescript,andlaiddownhissuperiorityinthefilmindustryGenerallyamoviescript,onthebasisofwritingcharactersanddialogue,constitutethebasicelementsofdramadevelopmentandstorytexture,wongkarwaishapingabilityisdramaticcharacters,roleoftenplayedsoon,willsetupthedistinctivepersonalityandcharacteristicsForexample,in"Chungkingforest",theincessantmutteringofthelovepolicemantakeshikaneshirocallseachotherinhisfamilytosayhelloHeboughtalatenightsnackforhisgirlfriend,buthedidn'tknowwhathisgirlfriendreallylikedtoeat,Tonyleung,andjingwenwang,theeccentricWongkarwaiskilledindesignofspecialcircumstances,suchasTonyleunginChungkingexpressagainandagaintobuyasnackwiththebossandtheanswer,andhisspeciallivinghabitsandbehavior,andastakeshikaneshiroeatcannedpineappleThroughsuchhabitsandresponsetoevents,orlongstraightintotheroleofinnermonologuetoshapevividcharactersimmediately,thisistomakehisfilmscanbebegunsoongrabbedtheaudiencepsychologicaltrickLongcharacterinnermonologuewritingmaysparescheduleandwangxiinrollingbigstar,coupledwithconstantchangesinthescript,soproductionconditions,forcinghimtothebackstage,musthavethescenescutoutofthemovie,withanarratorcohesion,sothefilmsofwongkarwai,rollingthemorebigstaroffilm,afterthecompletionofthenarratorandthenumberofmoreThisexplainswhyhisfilmstendtobestructurallydifferentstoriesmadeupofmanysmallparagraphsButitalsoprovesthatwongkarwai'screativityissorichthatafilmcanbecompletelydifferentfromshootingtocompletionMrWong'ssocalleddialogueisoftendescribedasmurakami,becausethetwohavethesamefetishismandgrammaticalhabitsofArabdigitalpreferences,suchas:"startwiththispoint"("daysofbeingwild"),"whenIwasclosesttoher,onlycentimeters,hourslater,Ifellinlovewiththiswoman"(Chungkingexpress)fetishesanddigitalsyntax,ritualizeddailylifebehavior,etcBecometheauthorofthedialogueandfilmstyleConstitutethewongkarwaifilmtextureelements,whichbelongstothehighlymaterialized,thesensibilityofcollagesamplingattheendofthecentury,inthepopularliterarynoveltoneofexaggerated,asubtlepostmodernrepackagedandirony,canbeseenhereandwongkarwaiforcreativeconsciousnessWongkarwaifilmonthenarrativestructurefracture,thoughoftenisbythenarratormakeup,butthisdoesnotaffecttheintegrityofthestructure,becauseeverywhereinthefractureisaconflictbecauseofthecontrastbetweenparagraphstotension,orthethemeofstrengtheningbysimulationInChungkingexpress,forexample,istwodifferentpersonalitypolicelovelife,anaffectionatetouching,ithappenedthatafterbeinggirlfrienddumped,metawomankillercannothappenanyrelationshipwithpeopleAnotherunintentionalandunintentionalfallintothetrapofthesecretadmirerInthecontrastbetweenthepositiveandnegativecharactersofthecharacters,thereistheabsurdandtheexclamationoflifeCharacter(Character)Almostallthecharactersinwong'sworkareselfemployed,withfewfamiliesandfamilymembersFamilyfromlack,highlightofindividualism,emphasisontheunificationoffilmrootlessfeeling,bytherootlessfeelingrevealsasenseofdesolationoflifeshort,correspondingtoHongKongintime,freedom,social,anddoubleendofthethcentury,insteadofemotionallyclosetogreedandparanoiaoffocus,AndendlessanxietyaboutthepassageoftimeThecharactersinwongkarwai'sfilmsarealwaysseenaskillers,prostitutes,policeofficers,stewardesses,andotherfixedidentitiesAssassinsandprostitutesareexcludedfromthelegalprofessionandareexcludedfromthelegalprofessionPoliceandairstewardessesarenormalindustriesinthesystem,buttheyhavethecharacteristicsofflow,alienationandinstabilityDressedinpoliceuniforms,thepoliceuniformturnedouttobeanumberedpatrolmachine,patrollingthestreetsTheairstewardessistomakeupthemakeupontheearthfromallthecountriesconstantlymoving,differentlandisjustadifferentnameThesearetheidentitiesthatrevealabsurdityinessence,andrepresentthebasicviewofthefamilyinthesocialhierarchyAlthoughwongintheprocessingoftimeandspaceandthedesignofthestory,fullofdepressionandpessimism,butwongkarwai'scharactersoftenappearsinmagicalways,letapersonfeeltheirlovefortheirown"liveinthemoment"Whetheritwasthealfyinthesixties,thechivalrousmenintheunknown,orthefallenangelsofthenineties,thoughuncertainaboutthefuture,theyfeltallthetimeinthepresentmomentThisminuteofair,thecityofthisminute,thethrillofaminute,theintensekissoftheminuteBeingpessimisticaboutlifeisfullofpassionandlongingforlife"Infact,mycharactersaresooptimisticthattheyallsurvived,"wongsaidinaninterviewOnlybythepersistenceofthis"onlyhereandnow"canwefeelthat"itisoptimistictobealive"toexplainthelovehateandextremebehaviorofwongkarwai'scharactersFramingFRAMING(takeamirror)AAngleHighAngle(bend)Whenavu(kaneshiro)wasfrustrated,hekickedacokecanunderthewindowofthemayfamily,andthecamerawasfilmedfromthetopdowntotakehisactionWecansaythatthelenswasfilmedbythewindow,sothatthelossofavuwasrevealedInotherwords,hisinsignificancetomaycanbeseenLowAngle(elevation)Themirrorisinthefirststory,whenthewuwuhaslearnedhislovelorn,whenherushedtotheoverpass,thecamerainadvertentlytooktheelevationto(liangzhaowei)SuchashortelevationAngle,buttakethecoincidenceoftimeandspaceCanted(inclined)Inthemiddleofthenight,whenavumadeaphonecalltoallhisfriendsinfrontofthefastfoodrestaurant,thecamerawasclearlytiltedSuchatilttakesonalotofmeaningOntheonehand,itisthelifeofarwuitselfthathaslostitscenterofgravity,andisseenaslightandemptyinhisheartThisputshispositionabovetheslantOntheotherhand,hewasmorelikelytobeofnoimportancetotheotherspeakerofthephoneBDistance(details)CloseupcloseupTimeplaysanimportantroleinthefirststoryinthestoryofavuandthefemalekiller(Linqingxia)Therefore,thefilmconstantlyremindstheaudienceoftheimportanceof"time"inthefilmExtremelycloseupIn"Chungkingforest",acloseupofthetimefeaturesonMayWiththeforegoingdescriptionofthemonth,day,minutes,seconds,thegreatfeatureonlytookthedateSinceMayisduedate,specialfeaturesareusedtoshowtheurgencyoftimeCMobileFramingTilt:tiltThisisthecenterofthecamera,shakingupanddown()thepanorama(roll)TakethecameraasthecenterandswayfromsidetosideAbovetwophotography,oneofthemostobviousiswhenbrigitteLinwithagroupofpeopleinIndia,whentheypurchasegoods,indianswithbrigitteLincamera,thecameraisaboutshakingupanddownThiseffectsuggeststhatthetaskmaybeburiedininstability,thatshemayfailHandheldcameraFollowshotThisisthetechniquethatwongkarwaiUSESintheforestofchongqingThefeatureisthatthepictureisnotsmooth,andtheswing,withthefunctionofthesubjectivelens,letusfollowtheleadrole,observehereverymove,butignoretheotherpeoplearoundInotherwords,weareveryclosetothemaincharacter,butwearefarawayfromotherpeople,whichprovidestheeffectofthecrowdEverydaywithmillionsofpeople,butnotfindthemFreeze(stop)Whenavumeetswong,thecamerastopscompletelySuchastopnaturallyshowssomesignificanceinthisfilmThefirstisthatitrepresentstheconnectingpointofthetwostories,givinghimenoughtimetospeakandbringoutthestoryofthenextOntheotherhanditreinforcestheintersectionoftheirpassingInaddition,thereisnodoubtthatwong'spersonalreluctancetobelimitedbytimelimitsThispieceofwongkarwaihasusedadifferentformoffilmtocreatetheeffectandfeelofamusicvideo(MTV)Inthesecondstory,shestoletothehouseoftocleanthehouse,andinthewholeprocess,shedidnothaveasinglemouthwhite,instead,shewasreplacedbyasongthatseemedtorepresenthermoodFromthebeginningofthesong,thecamerahasbeenlookingataseriesofactionsandactionsThismakeuseasilyonlynoticedtheleaditselfratherthanotherpeople,butatthesametimewealsodifficulttoindepthcharacter'sinnerworld,alsodonotgotostudyinthepast,whatyouseeisverysurfacewithshort,suchalienationisaproductstandardofcivilizationAlienationandlonelinessareoneofthetopicsdiscussedinchongqingforestThescenescheduling=miseenscene(scenescheduling)Theschedulingcontainsmanyelements:scenes,lights,costumes,andbodymovementsThroughthescenescheduling,wecanfindthatthefilmisfulloflifeinthecityandconveystheuniversalexistenceof"loneliness"inthecrowdThefilmiscomposedoftwocharactersalmostdifferentstory,seeminglyunrelated,infacttheyaredefinitelynottwocompletelyindependentindividuals,thereissomerelationshipbetweeneachotherIfyoulookclosely,youcanfindthreeofthestoriesinthesecondhalfofthestoryThesethreescenesshouldbearrangeddeliberately,thetimeofappearanceisveryshort,thecharacterisnotobvious,ifcutoff,shouldnotaffectthedevelopmentofthepreviousstoryButwhythearrangement"Everydayyouhaveachancetorubyourselfinwitheveryone,andyoumaybeignorantofthem,buttheymaybeyourfriendsorfriendsinthefuture"Thisisasentencethattakeshikaneshirosaidatthebeginningofthefilm,andthearrangementechoesthissentenceThesecharactershaveappearedinthesamespaceandtime,buttheydon'tknoweachotherItisasifweareconstantlyrubbingourselvesagainstothers,butweareinsuchahurrythatweignoreothersThatistosay,everyoneissofocusedoneachminutethattheycan'tcommunicatewithanotherlife,whichisakindofhelplesslifemodeinurbanlifeFastfoodrestaurantsandconveniencestoresarethesceneofbothstoriesItshowsthecharacteristicsof"fastfoodculture"inurbanlifeThiskindofplacepaysattentiontowant"fast",alsosopeoplebetweenpeopleshowveryfewopportunitiestoachieveemotional,verbalcommunicationThisisasharpcontrasttothetraditionalmarket,wherethestoryhasemergedBargainingwiththebossatleast,orjusthavingagreenonion,canbringyouclosertoeachotherButtherearefewopportunitiesinconveniencestoresLivinginthecity,everyoneisinahurry,andwhoisgoingtonoticewhatotherpeoplearedoingThelovelorntakeshiinthefilmlikestocallforsolaceMrLeunghabituallytalkstohisfamily'sfurnishingsWhattheyhaveincommon:loneliness,loneliness,andlossThisisthecommondiseaseofmodernlife,anditiscertainthattherewillbeanorganicmeetinginthisenvironmentAnd,onceencounter,wemusttofacenotescape,althoughdifferentways,liketakeshikaneshirochosetomakeaphonecall,Tonyleungisthedialogue,butitspurposeisthesame:thatistogetthroughtheseactionsofemotionalexpressionItsspaceprocessing,reflectthenarrowthickurbanitelifeexperience,butclosedflow,can'tstay(suchasbars,hotels,airports,escalator),easytobeinvaded(suchasWangFeizhifromTonyleung'sroom)AndTonyleungchiuwaioutsidethewindowoftheroomwasabusyescalator,alsoreflectsavulnerabletointerference,invasion,unsafelivingexperience,directcauseofinsecurity,andwanttoescape,wantastable,intimate,onlybelongtoyourownspaceInaddition,alargenumberofnightscenes,indoorscenes,andpeoplearecoming,notonlydarkandgray,butalsointhenonhumannatureofthedayThecharacteristicsofurbanlifeareinfullviewfromthecharacteristicsoftheseplacesAndit'snotjustthecityofHongKong,whichis,infact,allovertheworldaslongasit'scalled"thecity"Thedistancefrompersontopersonisbecomingevermoredistant,moredistant,andmoreandmore"selfcleaningsnow"mentality,whichisdifferentfromthepatternofagriculturalsocietyinthepastThesadthingisthatwecan'tseemtobeabletoturnbackWecanonlyacceptitasafact,butwecan'tchangeitMusicMusic(Music)The"repetition"isthemostdifferentformoftheauthorofagoodChinesefilmwriterWhetherit'speople,places,lines,ormusic,there'sacertainamountofrepetitionoroverlapFromthemongkokCarmen","chongqingforest"to"thefallenangel"newbook"happytogether",andevenforsomepeople,somelocationsareusedwithaparticularmusic,whichpresentsthethememusicfeaturesOfcourse,thisdiscussionfocusesonlyonthefilmchongqingforestThetwocentralcharactersinthefirsthalfof"chongqingforest"areLinqingxiaandjinchengwuThethemeoftakeshikaneshiroisnotobviousMusicandscienceandtechnology(SensousForest)andtheimageofbrigitteLinforthefilmopenedatthesametime,sincethispieceofmusichasbecomemusicmotifofbrigitteLin,accompaniedbyherhastysprint,enclosedspacethroughonebyoneThisoutside,throughthelensandthephotographyskill,withthemusicrhythmcooperation,makeLinqingxiatheidentityoftheassassinpresentsarathercomplicatedside:mystery,suspense,cold,charmDennisBrown(ThingsinLife),asaLifeforcelienalwinebrandthememusic,turnandturnasafemalebartenderdeepsexualattractionofbodyimage,andherbosssexualrelationshipwiththewhiteauditoryjiggledinhibitorShortnessofBrownsongrhythmandlively,composetheshortnessoflighttochoosewithwhichmenandwomenmakelove,tostrengthenthetwosprayeroticexcitement,especiallyfemalebartendersnakebodyphantomoftheopera,catalyzedbymusic,morelifelikeMusicinthesecondhalfoftheseriesUSESrockorpopsongsasanarrativemotifThemostimportantoftheseistheMamasandPapas(CaliforniaDreaming)Inadditiontobeingusedasthethemeofwangfei'sthememusic,thesonghasgraduallytranslatedtheimaginarytimeandspaceintoreallife,whichalsoconstitutesanimportantnarrativedevelopmentmixtureandtransformationelementInthewholestory,CaliforniaDreamingispresentedintheseriesmusic,andfromthebeginning,itisclearthatwangfei'smusiclikesanddreamsWhenitendedtheCaliforniasleepwalkinHongKongandflewtothefieldofdreams,"Californiasleepwalking"becameanewdreamforTonyleung,hopingforthereturnofwangfeiandthecompletionoftheunfinishedCaliforniacovenantSureenough,thefamiliarsongbroughtwangfeibacktotheoldlandandreunitedwithliangDinahWashington's(WhataDifferenceaDayMakes)thebriefreunionofTonyleungandzhoujialingWashington'slazy,hypnoticsingingandsingingofzhoujialing'sunbridledforeplaydelayedtheriseoftheeroticThesamemusicalsoappearedintheparagraphofwangfeiafterthesuddenenlightenmentofTonyleungOnlythistimethelackofahalfnakedfemalebodytopointtothefire,thusthelesssexualsummon,morethantheunspokenknowledgeoftheconstraintandjoy

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