The flowers of war

 

Only from the story of "The Loess", this is a simple film. But under the simple plot, we can still use the fascinating film skills, embody the big theme in the small story, and better see the strength. The most commendable thing is the use of light in the film. The use of light in this film is very representative. Most of the scenes in the film use low-dimming light with high contrast lighting, and the background is dark and deep. For example, the night before Gu Qing left, the scene of Cuiqiao Dad singing, the light of oil lamp in the cave is very weak, just illuminating Cuiqiao Dad's face, so that we can see the wrinkles on his face like withered tree vines - a typical Loess Man's face. Non-standard lighting techniques such as dark contrast lighting in caves, Cuiqiao sitting in front of the door to make shoes, and Gu Qing's back pictures use silhouette lighting, the main body is dark and the background is bright. Of course, the film also makes full use of natural light for flat lighting, to create the authenticity and Naturalization of the film. At the same time, the characters in the film are more three-dimensional.

 

  In addition, the use of color in the film is also very distinctive. Color is the lyric symbol of film and television pictures, which can convey feelings and express emotions. In the film "The Yellow Earth", the most commonly used colors are yellow, red and black. Each of these three colors has its own unique representative significance. Yellow represents the people raised in Loess and loess. Loess not only shows high-energy colors, such as orange in the morning, which gives people a deep and tolerant sense of gravity but also shows low-energy colors, such as grey in the evening. the use of the lens and shooting methods in the film. The film is good at using a wide-angle lens, using a large depth of field technique, making the line of sight open. For example, in the beginning, and several scenes in the film, the maximum depth of field is always used to reflect the scenery, which shows the emptiness and distances of the loess. And this loss is the mother who raises the Chinese nation. It has nurtured China's thick, closed and tolerant inland civilization, full of human feelings, but with its traditional stubborn nature, it has a huge binding force on people. The empty lens is also used frequently, mainly for the Yellow River, land and the sun, without the participation of characters, only scenery.

 

In addition, the flick lens in the film has injected great appeal and expressive force into it. From the shooting point of view, the film uses a lot of overhead and upward shooting but also has a certain ideographic function. For example, when Gu Qing appeared in the film and asked for rain, he used backup shooting for his re-appearance. Gu Qing's figure gradually appeared on the open horizon, moving towards the screen, and then the lens moved up to take a big picture of the blue sky. Overhead shooting allows viewers to get a panoramic view through the camera lens, showing the thousands of gullies formed by wind and sand erosion on the loess, and producing special performance effects. For example, the overhead photograph of the Yellow River edge trackers reflects the compassion and sympathy for the small and weak individuals struggling to survive.