Excessive protection is the love of deformed children
A brief analysis of the audio-visual language of Bao Bao Bao
A few days ago, the Chinese director's work "Baby Bao" won the Best Animated Short Film Award at the Oscars, and there has been a heated discussion on the Internet about China's family status. In addition to the unique story concept in the short film, excellent audio-visual language also plays an extremely important role. At the beginning of the short film, the most striking thing is the skillful steps of "making steamed buns". Several close-up shots show the details of kneading dough, rolling dough skin, making steamed steamed steamed steamed buns, and steaming steamed steamed buns in a nuanced way. From the beginning of the film, you can feel a strong Chinese style. And in the story of the growth of Xiao Baozi, three fixed shots are used to continuously show the scene of Xiao Baozi's height. It is clever that Xiao Baozi not only becomes taller every time he measures his height, but also matures in his dress. It eliminates the need for redundant shots to express the growth of the buns, and also allows the audience to watch the movie with continuity. At the end of the reunion of the short film, the scene of the reconciled mother and son making buns is pulled from the scene to the scene where the whole family of four is enjoying themselves. Pulls the audience out of the mother-son duo story, to the scene of family harmony, until the picture fades out and the film ends. The tone and music of the film also give the audience enough hints and feelings. Chinese-style music runs through the whole film, and the brisk Chinese-style music at the beginning of the film, and most of the films are rendered with warm tones, and the appearance of a large number of Chinese elements in the film, such as "Chinese knots", gives the audience a strong sense of Story Chinese style background.
The few cool-toned shots in the film that can enrich the film deeply impressed the author. At the beginning, the woman brings the meal to the restaurant table, and the plot of the old couple eating is dominated by cold tones. The deserted home, the old couple who rarely communicate, and the gradually disappearing music in this scene all give the audience enough hints of desertedness. In the scene where Baozi gets angry with the woman when the woman doesn't let Baozi play with her friends. The women’s cooking to please the buns is rendered in warm tones, while the buns reject the women’s kindness when they go out to play with friends and use the cold tones to express, and the camera switches back and forth between the woman’s side and the bun’s side. Conflict intensifies. The film also uses a lot of cool and black tones and environments to show the loneliness and helplessness of a woman. When the woman eats alone after the steamed bun, when the woman eats the steamed bun, and when the woman wakes up and cries on the bed alone, she uses cold and black tones, so that the audience can also feel the woman's state of mind. When the woman stopped the steamed bun from leaving the house and pushed and pulled the steamed bun, the melodious music gradually became more intense, and when the woman grabbed the steamed bun and ate it, the music suddenly stopped. It is very distinctive and strongly expresses the charm of the story and the heart of a woman.
A large number of characters and scene details are also the reasons for this short film. The son has a very similar shape to Baozi, with red clothes and black-rimmed glasses. And the woman sees her son as a bun when her son appears, and the reflection of the son's bun shape all imply that the woman grows up with the bun in her dream, which is a true portrayal of getting along with the son, and the bun is the incarnation of the son. At the beginning of the film, when the husband and wife are eating in the restaurant, there is an extra chair that no one sits on, which is also to pave the way for the appearance of the son behind. There are also barbecued pork buns that appeared three times in the film, which appeared for the first time in the first time Xiaobaozi (son) and a woman took to the street. The woman and Baozi (son) ate together, and ordered the barbecued pork buns to be the son's favorite snack. The second appearance of the char siu bun is because the woman takes too much care of the bun (the son), and the two have a conflict. The woman uses it to please the bun (the son) but is rejected, which also implies that excessive love and protection are superfluous. The third appearance of Char Siu Bao is a scene where the son reconciles with his mother, and the mother and son eat together again. It is also a point to pay more attention to empty nesters.
The protagonist of the film, the elderly mother. It is also the image of a typical Chinese parent, an image of excessive love and protection for their children. The protagonist and the author's most impressive facial expressions are the state of Baozi when she was injured three times in the short film. The moment he saw Baozi's injury, his facial expression immediately wrinkled, showing excessive nervousness; there were also coherent movements, and he immediately picked up the Baozi and walked away with the Baozi in his arms. It vividly shows the Chinese-style parent-child relationship, and the mother's excessive protection of the child is also vividly expressed through these small fragments.
This is not only a true portrayal of the status quo of overprotection and overcare, but also a reminder that healthy family relationships are about respecting and caring for each other. Just like the final scene of the film, the ideal state of life is that a family understands each other, learns from each other, cares for each other in moderation, and grows together.
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