The gaze of Ulysses is the masterpiece of the Greek director Theo Angelopoulos. As for Angelopoulos's work, the use of long shots has to be said. At the beginning of the film, the blending of scene reproduction and long shots is used. This is Angelopoulos’s signature long shot. The long shot does not break the narrative of time, but inserts another narrative related to the story; in addition, in this The scene tells about the position of the person in the film and the hero in the film are overlapped, and the person who is talking to the hero moves in the horizontal position and descends into the hero, and then the hero moves from the substituted position to the beginning of the substitution of the character In this way, if the long-lens shooting is carried out with a horizontal track lens, it will inevitably have visual repetition. And Angelopoulos cleverly shakes the lens when the person telling the movie is walking, and then in When the protagonist walks to the position where the character is substituted, he is shot in a shifting manner; this lens has a long depth of field, and the background is an endless sea, while the lens is stretched when the frame is raised and when the frame is pushed down, the lens is shot towards the sea. The ship is more three-dimensional and layered. The fusion of the scene reappearance and the long shot mentioned just now. The scene reappearance from about 52 minutes to 67 minutes in the film can be said to be a small climax of the film. The hero in the train recalls that he and his mother rushed home when he was a child. The scheduling of the actors and the changing of the tones between the scenes during the New Year give people a sense of reality and illusion, and even make people feel that it is a pseudo-long shot. Later, in the long shots of the hero and his mother after they arrive home, the panoramic dance The scene is fixed, and the director seems to be more ambitious to realize the change of age in the long shot. The fixation of a scene spans several years, and the frequent in and out of actors in the scene contradicts historical characters. The appearance is more intuitive, and even in this ten-minute long shot, it seems that nothing is said, but everything is said.
Angelopoulos is called the only film poet by many or even some fans, and this has to be mentioned Andre Takovsky, after all, Tarkovsky is a representative figure of Soviet poetry film. I personally think that Tarkovsky’s poetry is not only in the lens, but more in the sound effects, plot, elements, and even the way of expressing dreams in Tarkovsky’s films, with a strong black and white contrast. The dream, either in slow motion or empty motion, makes the film full of melancholy as the soft whispers of dream talk; the latter’s poetry is more manifested in the use of long shots.
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