——Analysis of the audio-visual language of "My Father and Mother" In the past, the sun has become slow, and the horses, horses and emails are slow, and only one person can be loved in a lifetime. You appeared in late autumn, and the dead leaves on the tree have become golden pieces. I can't bear the bitter winter night without you. The new clothes are bright and bright with your praise. Even the used celadon is kept as a souvenir. The hairpin is the only thing I miss. The days when you are here are colorful. For more than 40 years, I can't hear the voice like the sound of the sky. I hope the camera can leave our pure love. You are the color of this world, without you life will be only black and white. The film is roughly divided into two tones. In my memory, my father was in bright colors, while in reality, my father died in black and white. This special treatment transforms intangible emotions into concrete visual expressions. The life of a mother who has lost her husband is gloomy, but the memories of the past are vividly imprinted in her mind. Black and white and color respectively symbolize the loneliness of old age. With the passion and hope of love in a young age. At the end of the film, when "I" was about to leave, I decided to teach the children a lesson. It was still the young Zhao Feng running in a red cotton jacket, and it seemed like she heard her husband's eloquent voice. It was not a black-and-white reproduction of real life. The freeze-frame of color tones left the audience with the emotional climax of love, hope and enthusiasm. The contrast of tones is a reflection of the enthusiasm of young people and the good memory and deep love of my mother for my father. Red is used extensively in the film, which creates a strong contrast with the environment when autumn and winter come. Red symbolizes enthusiasm, hope, the vitality of life. The smear in the film, the padded jacket, or the red color of the scarf all imply the exuberance of vitality, the heat of love, the hope of life, and the splendor of life. Together with the warm colors and soft light as the keynote of the film, the girl's pursuit of love and her inner shyness are vividly displayed. The hair card sent by the father is the starting prop to witness the love between the two, and it is also a clue to connect the narrative of the work. Sending the card, throwing the card and looking for the card, every step is to attract Di's love for the card, and it is a prop to connect the emotions of the two. Leaving a blue-and-white porcelain baked bowl for my mother, just because my father used it, is also an emotional sustenance. Dissolving is a feature of the film and is used frequently, but with different effects. The time-space transformation of the narrative is completed from the overlapping of the photo frame to the road to the entrance of the village. The multiple overlapping of the dining table when repairing the school is the expression of the passage of time when Zhao Di delivers meals day after day, which highlights her urgent attention; Going out early and returning late for several days in a row is to express emotions, reflecting Zhao Di's perseverance and tenacity, and highlighting her frustration and loss that she couldn't find the "token of love" card; the superposition at the end of the film is also the climax of the film. The time-space staggered montage combines time-space, color, and sound, reflecting the vicissitudes of the years, the sense of right and wrong, and a reflection of the protagonist's mixed feelings. Colors, props, pictures, etc. are all powerful tools for the director's narrative expression. They break through the limitation that emotions cannot be seen or heard, communicate the emotions of the characters inside and outside the screen and the audience, and remember this love that never grows old.
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