-A brief discussion on the metaphors and symbols in "Diet Men and Women"
Ang Lee, an internationally renowned Chinese director. He has won two Oscars, and has won various international movie heavyweight awards such as the Golden Globe, Golden Lion, Golden Bear, etc. It can be said that Ang Lee is a master. His film creation has won the love of the public with his profound thinking, strong storytelling and calm narration, as well as beautiful pictures. In his films, the conflict between Eastern and Western cultures always finds a temporary balance in a wonderful way. He is able to combine the film's plain documentary style with drama skillfully, making the film show an elegant and peaceful atmosphere with unique oriental characteristics like Ang Lee himself. His early "Family Trilogy", "Pushing Hands", "The Wedding Banquet", and "Eating and Drinking Men and Women" are representative films of this style.
The metaphors and symbolism in it embodies his natural narrative skills, and the expression of the theme ideas is more profound and clear, which vividly demonstrates the unique image style of director Ang Lee, which has won unanimous praise from the film industry.
At the beginning of the film, there is a large panoramic shot in front of the audience: on the busy intersection, the bustling crowd is flowing, and then, the film title "Diet Men and Women" is covered with four characters on the passing crowd, symbolizing the modern society. Every living individual is the epitome of the "diet men and women" in the film, and each individual's desires and ideas have something in common. In the name of food, the director actually explores the fusion and collision between personal erotic desires and family ethical difficulties in contemporary society, which is one of the biggest metaphors in the film.
Rain has strong directivity and meaning The rain that appears many times in this film also has strong directivity and meaning. The scene where the long-awaited Aunt Liang appeared was set in the torrential rain. The rain symbolizes a kind of intrusiveness that moistens things without sound. The director uses this as a metaphor for the arrival of Aunt Liang, which will bring a change to the Zhu family. ; On the night that Uncle Wim was sent to the hospital, the continuous rain symbolized the final eruption of the father's emotions that he had been holding back.
The mother in the film died when Jia Ning was 4 years old. Now Jia Ning is 20 years old. The 16 years of loneliness and loneliness are accompanied by three daughters who are becoming mature and sexy. In the film, the father repeatedly emphasized that his body was fine, and he got up and ran every morning. These scenes all implied his father's sexual repression. When waking up Jiaqian, he even had a body stretched forward. Everyone is a slave to sex, and so are fathers.
After her mother died, the older Jiazhen played the role of mother. In order to balance the family, she did not hesitate to make up a story of being dumped by a man. This kind of motherhood spread in her heart, so after she saw the monitor received a love letter She is jealous, but she says no one has taken it. She can't stand the meowing of cats in heat. She has to wear headphones when she goes out, and she can't stand the neighbors playing some love songs. She even wears her underwear very conservatively. Years of repression have made her full of sex. Longing and longing, skinny jeans, KTV, off-road motorcycles, these sexual hints are paving the way for the final outbreak of Jianing. After the relationship is confirmed, Jianing has no time to eat or speak, and sex is like a flood of beasts. Erupted.
Jia Ning's mother image undoubtedly had an impact on his father's values. The beauty of the young girl made him full of nostalgia for sex. On the contrary, Jin Hua lost her husband at an early age, and he really doesn't care about age because of the lack of fatherly love. On the contrary, Dad Zhu is more like to make up for her lack of fatherly love.
The sense of taste is also a metaphor. The loss of the sense of taste is due to years of sexual repression, but Lao Zhu is reluctant to admit that this is the test that he does not dare to face sexually. In the end, Jin Hua became pregnant and his father's sense of taste returned, symbolizing years of sexual repression. Finally disappeared at this moment. Christianity represents Jiazhen. The dual occupation of teachers and "mothers" makes this character extremely controlling. She is a stubborn Christian, so her husband must also be a Christian. This is her thought. She is full of motherhood and will not be a wife at all. Using such a metaphor also reveals the tragic ending of the two.
There are also metaphors in the audio and visual sense. For the fifth time, the reunion of a family of nine is very spectacular. The director uses a wide-angle lens to highlight this sense of spectacle and ceremony. At the same time, accompanied by two shots of three people, it shows the fusion between the feelings of the family at this time. In this scene, the movement of the camera subtly hints the existence of a triangular relationship: the camera first places Lao Zhu and Aunt Liang, who is the hostess, in the same frame; panning to the right, the camera again places Lao Zhu and Jinrong on the same screen. The movement of the camera also hints at what's going to happen at the end.
As the last part of the "Family Trilogy", "Food and Drink" is undoubtedly the most accomplished and mature one. The director uses audio-visual, metaphor and other techniques to analyze the family's "eating" and "sex" layer by layer. , showing us a family story that belongs only to Chinese culture.
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