The three plays are analyzed below. Ma Xiaojun entered the Milan home for the first time. I think the scene has a strong symbolic meaning. When entering the door, a voice-over sounded, "I always only open the open lock, because it is safe. But today I opened a dark lock by a ghost." An opportunity can often prompt people to grow up suddenly, just like Lu Xun lost his father. In this way, Ma Xiaojun opened the "door of growth". Ma Xiaojun entered a clean and bright room with strong sunlight coming in from the window. At this time, the clock struck, as if to announce the beginning of Ma Xiaojun's growth. Ma Xiaojun found dumplings, so he lay on the bed to eat, which seemed to symbolize that people's initial desire was simple appetite; Ma Xiaojun found the binoculars, started playing, looked around through the binoculars, and saw Teacher Hu talking to the female teacher and going to the toilet, This symbolizes the growth of one's desire to play and to observe the world. After that, Ma Xiaojun circled the house again, and the subjective lens quickly swept all directions of the house. Suddenly, a photo of a girl appeared, and when Ma Xiaojun looked at it with the naked eye, the photo disappeared again. Ma Xiaojun found the photo through the telescope, stared blankly, and the clock rang again. Ma Xiaojun's beloved person appeared like a miracle, love appeared in Ma Xiaojun's mind like a thunderbolt, and the bell announced the beginning of a new life stage. At this point the music starts and the game ends. This short one symbolically summarizes the growth of a person, and vividly expresses the shock of Ma Xiaojun when he first met his crush. Personally, I think it is much stronger than the description in Wang Shuo's original work. Ma Xiaojun and his gang beat people. There are a total of 24 shots in this segment, nearly half of which are hand-held shots. The camera and the characters in the shot are relatively violent. It seems that the director is immersed in the scene and follows the children to run and start, instead of waiting for the changes like Hou Hsiao-hsien. The action of the fight is more dramatic, but it is more realistic and bloody than the usual movies involving youth violence. Contrast this fight with the clip from A Clockwork Orange. Jiang Wen's music is "The Internationale", which is definitely positive in China. Stan's music is a symphony of Beethoven. In this violent and chaotic scene, Beethoven's music is ironic; The lighting is warm, and the lighting used by Stan is cold, and it seems to be harder. Obviously, Stanley's scene is more terrifying and chaotic; Jiang Wen's fight is to avenge his buddies, and Stanley's fight is just an outlet for violent addiction; Jiang Wen set up a plot of Ma Xiaojun beating people. Ma Xiaojun, who didn't dare to do it, beat a child in order to show his courage and manhood in front of Liu Yiku. Stanley didn't specifically show who beat people because everyone was sick. Hit, vent violence. All in all, Jiang Wen's comments on "Sunny Day" The violent episode in "Days" is not regarded as pathological, on the contrary, this episode is like the director's recollection of the hot-blooded youth, a passionate record of the compulsory course of the boy's growth. Ma Xiaojun was diving in swimming trunks given by his crush. Ma Xiaojun used the upgrade step by step in the process of getting on the platform. The combination of subjective and objective lenses, high pitch and high elevation, and overexposure. I guess there must be some directors who want to use a long shot to film the entire process of climbing the ladder to emphasize the length and difficulty of climbing, symbolizing the length and difficulty of growing up. This kind of treatment can not give people the solemn feeling of being on the altar like in the film. After Ma Xiaojun stepped onto the platform, the subjective shot highlighted the only Milan wearing a red swimsuit. Ma Xiaojun on the platform was reflected on the water, but his former friends never noticed his existence. Ma Xiaojun jumped into the water and swam to his former friends, hoping someone would pull him, but was kicked back into the water mercilessly. In the end, Ma Xiaojun floated on the water as if dead, floating in the empty swimming pool for a long time. Childhood is dead. The break with the small group forced Ma Xiaojun's "self" to mature, and Ma Xiaojun's growth was completed. The whole process was full of ritual. The application of elements such as upgrade, overexposure, silent source music, reflection on the water surface, fusion, color, contrast between fantasy and reality in this clip all carry the director's strong subjective feelings.
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