The interpretation of film art language on Baidu Encyclopedia is a comprehensive film and television scene scheduling method for character setting, scene arrangement, light and shadow control, etc. Zhang Shuping, a famous film art director, once said: "Film art is a way of expressing some abstract concepts through the specific means of vision, in order to create an atmosphere, in order to achieve "emotion and scene brilliance, meaning and imagery" But the atmosphere is a very empty existence, sometimes lighting, sometimes photography, sometimes sets, sometimes color tones." The development of film has experienced the process of changing from black and white to color in 1927, and today's these In film works, the use of film and television color can be described as various, each with its own merits. There is such a film, which looks at China from the perspective of foreigners, and is also the first film in history to be allowed to enter the Forbidden City in Beijing to shoot on location. This is Bertolucci's "The Last Emperor". The use of film and television colors in this film is very artistic. Below I will analyze the classic scenes in the film one by one. When little Puyi's mother was brought into the palace to see Puyi for the first time, Puyi was sitting outside the palace gate. The outside was very dazzling under the sunlight, but Puyi was in the thick shadow. A stark contrast. Famous photographer Stola Rhodes commented on the color of the film: "The emperor of China lived within a specific city wall. He was always in the shadow of parasols and roofs, so we established a semi-circular style for the film. The tone of shadow." For Puyi, who was brought into the palace since childhood, he has always lived in the Forbidden City, in name only and without freedom, so the color is dark at this time; as Puyi grew up, there was also nature in his living environment The color of light is added continuously. After being driven out of the Forbidden City, Puyi was unwilling and wanted to be the emperor. So with the support of the Japanese, Puyi became the emperor in the puppet Manchukuo. At this time, the color of the light was softer, but it still created a very depressing color. atmosphere. In the end, Puyi became an ordinary person through political transformation, and the color of light and shadow gradually became normal, and finally there was no shadow color, and there was no foil that shrouded the color. "The Last Emperor" is a legendary film full of power. For example, in the scene of Puyi's ascension to the throne, the ministers in the palace were carrying out the ceremony of the enthronement ceremony. Puyi, who was only three years old, wore a yellow dragon robe and was absent-minded, because he did not understand everything in front of him. Suddenly, a large yellow curtain balloon at the entrance of the palace caught his eye, and he ignored the solemn enthronement ceremony and ran out of the palace. But the curtain balloon Flying up, Xiao Puyi stretched out his hand to catch it but didn't catch it, his face was blank. As we all know, yellow always represents the emperor, holiness, and power in China. The yellow curtain balloon here clearly represents the imperial power. Little Puyi can’t reach or catch it, which means that little Puyi is just a nominal emperor. Made a foreshadowing. The two greens in the film were used just right by director Bertolucci, adding a touch of heavy makeup to the film. The first is when Xiao Puyi and his younger brother Pu Jie were playing in the garden, and they saw the first emperor's concubine. Although he claimed to be Xiao Puyi's grandmother, Xiao Puyi was very resistant in his heart, so he found the nurse again and asked for her. breast-feeding. The background of the film is the large green lotus leaves of the Summer Palace, which shows vitality and a warm atmosphere in such an environment; another green scene appears in the scene where Puyi's nurse was forcibly expelled from the palace, when Puyi learned that there were still existences outside. When he was a president of the Republic of China, he didn't believe the minister's words, so he thought of his nurse for the first time, and he hurried back to find her. A panning shot was taken of the nanny being sent away and Puyi running back, and the foreground is green ivy leaves. This panning shot and ivy symbolize the blending of Puyi and the nanny, while green represents life and vitality, and is also a sign of great love to the grandmother. An interpretation of love without boundaries. Director Bertolucci's clever use of these two greens is a little solace for Puyi's lonely soul when he lived in the palace. Bertolucci's application of color contrast in "The Last Emperor" enhances the film's temperament. When Puyi's wife Wanrong was forcibly taken away from the puppet palace by the Japanese, Puyi ran downstairs to catch up, but the gate was closed. An overhead shot shows him in a cool, bluish-gray setting, while an overhead shot shows the setting sun looming over the corner of the house with the Japanese background. At this time, the angle of the camera is tilted up and down, and the color tone is cold and warm, forming a strong contrast, showing Puyi's inner beauty and the shattering of hope, bringing the synthesis and balance of film language to a new level. the height of. Combining all Bertolucci's well-known film works, we can see that the language of film art plays a pivotal role in the film production process. Whether it is the emphasis on color, or the careful design of character scenes and costumes, we can see Bertolucci A very strong personal style. Although Bertolucci gave up his favorite way of narrating with color after "The Last Emperor", the comprehensive and balanced application of film language has also reached a new height, and the use of film art language is more delicate and natural.
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