Notes from Peking University's "Writing with Light and Literary Adaptation" Film Appreciation Course

{The two stylized media of night scene and day scene reproduce the sense of history} The lighting is very particular, and the mainstream visual media of the 19th century - classical oil painting and the earliest portrait photography in the middle of the 19th century (with a silver plate length) successfully reproduced through light, color and camera Up to 15 minutes of exposure, delicate outlines are exquisite and clear) The special lighting technique outlines the solid black, and the richness formed by the light and tone above the black. The picture does not have a clear main light source basis. The main purpose is to carefully create scattered light from the floor (foot light, the modeling light of the characters makes the lower half of the face brighter) to fill the picture, and through the balance of the wall light and the ceiling light, so as not to cause a horror film effect. Full backlighting is used for the day scene to avoid glare and still make the picture full of haze, enhance the flatness of the picture, and make the picture present a gouache-like effect.
{Lens Narrative and Psychological Expression} The visual structure of the film is complete (first person). Sharing pictorial space means sharing mental space. The use of classical lens language for depth of field, and the precise use of shallow focus lens to show the subtle and delicate psychological state of the characters (the presence and absence of the focus, psychological rejection and recognition). In the film, not only the characters, dialogues, performances, and more It is the light, color, composition, scene, and depth of field that tell the story.
{Special film lens language: picture frame, mirror, window, door} This version of Jane Eyre's bedroom has more than three mirrors but never takes a self-portrait in the mirror, using this way to express the character's lack of narcissism and self-pity , inner strength. The three Jane Eyes on the only wedding morning, the double mirror-reflected and distorted images suggest the phantom of the bride. When everything was revealed, Jane Eyre tore her wedding dress in front of the mirror without looking at the mirror, and shed tears when she turned her back to the mirror. Delicate grasp and restrained expression make it the most faithful to the original and the most elegant and fiery version.

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