A Brief Analysis of the Artistic Features of Bao Bao Bao
In China, steamed buns are a common food. He is present on the dining table in the north and the south. Whether it is breakfast or night markets, he can always fill every hungry stomach, but the ordinaryness of steamed buns implies something else. The sense of dedication that food does not have, he is fearless, he has no tedious production process, and there is no sense of ritual that is only allowed during the festival like eating dumplings. Even the greatness of his dough can wrap all the fillings you fill.
The film is very metaphorical, always giving you a huge amount of information without anyone knowing it. At the beginning of the film, four quick-cut shots show the audience the process of making steamed buns. The process seems simple. A hole is cut in the middle of the dough and then rolled into strips. The next shot is to cut the strip of dough into pieces, but if you go deeper If you look at it, you will find that the use of metaphor montage here is very good. The strips of dough actually represent the umbilical cord left by a woman giving birth. The rupture of the umbilical cord symbolizes the birth of a child and the concept of a child is a dough film one by one in this film. From here, it tells the audience that Bao Baobao has already was born, in other words, our protagonist will be a bun. The buns also serve as clues throughout the film, but the doughs that are separated from the strips of dough are also metaphors (representing) that they are now independent The individual's unwillingness to be overly controlled by the mother and thus involved in the conflict between Bao Baobao and the mother lays the groundwork for the conflict in the story below. The second metaphor of the film is the recurring stuffing of the bun and the stuffing of the bun as the soul ingredient of a bun. The stuffing here is not a simple stuffing in the meaning, it represents the food culture of the Chinese nation. As a kind of clue, the stuffing has a hint of inheritance. There are two close-up shots of buns in the film to show the audience the process of making buns. The first time the mother is in the process of making buns, one is pulling the bun skin and finally wrapping the filling into the bun skin, and at the end of the film, the son is making buns. Not pulling the bun skin caused the filling to overflow. The first impression of the filling is that the taste is inherited, but he also represents the image of a son who is young and ignorant, accommodating and changing. At this time, Baozipi is a metaphor for the mother's pulling in the son's growth process, which symbolizes accommodation. Pulling the Baozipi symbolizes that the mother's tolerance is the external expression of the mother's forbearance and the excessive behavior of the son. From a macro perspective, it is the relationship between a human mother and a bun son, but from a micro perspective, the bun skin symbolizes the mother and the stuffing symbolizes the child. The bun skin represents the mother's protection and tolerance for the child.
The use of contrast in this film and the combination of audio-visual language are also very brilliant. At 1 minute and 20 seconds of the movie, the mother bit the last steamed bun and cried. The mother spit the steamed bun back into the cage and then slowly climbed to the director of the steamed bun. Here, a panning camera was used to follow the subject's mother. The color tones also gradually turned from cold to warm. The bright thing is that the director did not forcefully change the color tone, but set the sunlight outside the window. Using the moving camera can better control the audience's line of sight, so that the audience can see what the director wants to show to the audience. The parts of the watch appear to be more distinct. But this series of activities ultimately serves the purpose of contrast. The layers of contrast also become diverse at this time. When the baby bag appears, the color tone changes, creating a strong contrast. The first layer is the warmth of the sun shining into the house, and the second layer is The image of the mother, an older generation of Chinese women, felt full of inner fulfillment after Bao Bao Bao appeared. The sun not only shone into the house from time to time, but also in the mother's atrium. The appearance of Bao Bao warmed the mother's heart. The end of the film explained this Everything is a dream of the mother. From this, it can also be inferred that the room with cool colors is the externalization of the mother's cold heart. It is the product of the mother's self-consciousness and unmodified reflection when she dreams. The appearance of the baby dominates the contrast. This is the only factor. The resulting changes combined with appropriate audio-visual language skills can give the audience a greater impact. The use of contrast also expands the impact on the audience after the contrast. The second contrast in the film is the combination of mother and son set throughout the film. From five minutes and forty-eight seconds of the film, the real son has an embarrassed expression on his face and the same eight-character eyebrows as his mother, and a series of actions such as the mother longing for the son's actions but turning around and the father pushing the son into the door. It can be seen that under the influence of Chinese traditional culture, China Men are always full of emotions, but they are never good at expressing them. The residual warmth of feudal ethics is always a hindrance to women's pursuit of emotions and the way to express them. Film history is also mostly used. The daughter's combination uses the father's stubbornness and the old-fashioned party to compare the three daughters' trendy (the eldest daughter believes in Christianity, the second daughter is open to sex, and the third daughter, who is a chef, works in a western fast food restaurant). This combination produces the most impactful and most powerful. At the same time, the superficial meaning is the contrast between mother and son, and the deeper meaning is that the director expresses the contrast between Chinese men and women. The highlight of this film is exactly here
The film's desalination of the timeline and then the service also makes the whole film more prominent. The film is one minute and fifty-eight seconds. The mother takes the baby to the store for the first time. The use of the slogan on the wall says that food stamps are available. The use of the slogan defines the time frame at that time. It has also grown from an ignorant new mother who does not understand why her son closes the door and tries to find a way to make a good meal. The role of a mother also changes with Bao Baobao's changes. From unable to integrate, not knowing how to please, to finally understanding the mother, although she has always been It is an old image, but the director tells the mother's growth through a series of action arrangements, and the use of measuring bags between the shots of the film. Different faded timelines of warm light tones make time more compact, use as little time as possible to cover more information, express conflicts and conflict resolution, and increase the original charm of the story as the son grows and the mother grows and fades the mother highlights The son uses the son to contrast the mother not only to express one person, to focus on the group timeline, to serve the plot as much as possible, and to look at the problem from a macro perspective is the genius of this "Baby Bao"
"Baby Bao" does not focus on showing the mental journey of a mother and a woman of the previous generation. He is far-sighted and far-sighted. The understanding of his mother is only at the primary level. "Baby Bao" thinks about the impact of two eras and dissolves and digests the impact. The core tragedy, however, uses comedy to express that the steamed bun is not just food. It is an inheritance. It is the memory passed on from the mother to the daughter-in-law and the grandson. It is the bond that connects the Chinese people. human aspect
View more about Bao reviews
