1. Adults are disciplining children very consistently. The teacher's method is to control the space. The classroom is the only cramped scene in the whole movie. In front of the sitting little radish, the teacher, who is infinitely tall, closes the window before entering the door in the opening scene, and closes the window first when entering the door in the ending scene. So much emphasis on discipline, almost forgetting purpose. The mother's method is to control the time, sometimes to do homework, sometimes to feed the child, sometimes to get hot water, sometimes to buy bread, so that the protagonist is exhausted and unable to resist in the disrupted schedule. The father's method is to control the voice, stare at the protagonist, screw the radio pointlessly, and make a strong declaration of his existence. The teacher will reason with the crying students, and the mother will stroke the protagonist's head after the accident. It is the father who is the most terrifying. After all, the sword is not killing but hiding.
2. Listening to Huang Ji’s talk about the layout of his house, it came to mind that the protagonist enters the village and town, and the large pile of firewood and haystacks facing him can be said to be the screen wall of this small village. In fact, the space in the village is not empty or loose, and it is deliberately divided by the gates. Of course, it is too much to say that this is Zhaobi or rockery, but it is somewhat similar in the large narrative space of the movie.
3. In the scene of throwing clothes, the director did not use the camera to shoot upwards or pull it upwards, but cut it into two shots abruptly, and put the man of the latter shot into the previous shot to associate it. It is even more prominent in the scene where the protagonist turns around when the adults are talking about business, and the adult's head simply stays out of the camera. The embarrassment of the protagonist as a child is evident.
4. Since "women are not born but constructed", why not children? The protagonist can shout to Qian Ma (cousin) in the distant view next to the blue gate, but he dares not stop the middle-aged man while chasing the donkey. This is the trace of discipline. Just because I am such a child, I don't have much feelings about it, especially because when I grow up, I look back on it with compassion for the elderly, just like my short comment under "Dog Thirteen". Discipline has to be seen through, but the surrounding society perceives my different inferiority complex to vent until I grow into a contemptible adult. The teacher who forced me to apologize, the neurotic invigilator, and even the grandfather I called "Lao Luo's family" in my writings, I have this kind of sympathy. "Dad taste" how is the old age? I just feel desolate. I don't think Abbas was such a kid before.
5. The donkey-riding man who symbolizes the penetration of the industrial revolution is described as greasy and disheveled, but an old carpenter wearing a suit meticulously. This is the background of the beauty of country movies: idyllic poetry, the hero's knightly enthusiasm, and the tree that is in the book at this moment. A beam of sunlight contained in the flower, smashed into the classroom and shone on my forehead, evoking the sadness of the small townspeople.
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