For example, there are two main ways to shoot the three conversations in the car. One is the close-up shot in the car. the inner world of the viewer and bystander. For example, in the conversation between the protagonist and the young soldier, the audience can feel the unease of the soldier at close range; while in the conversation with the old man, the audience kindly shares the joy of hope brought by survival.
The other is a long-range shot. The car is driving on the road with rolling yellow sand, looking down at the small car, but the audience can clearly hear the conversation between the two people in the car. This is the perspective of God's omniscience and omnipotence, overlooking the choices of life and death for human beings, so at this time, the audience can make arbitrary evaluations, and a blank imagination space is also created.
It is worth mentioning that in addition to giving the audience a position of God's perspective, the long-range lens is more about controlling the audience's attention and switching the focus of the film's narrative between film language and text dialogue. In ordinary movies, the director always hopes to use the language of the camera lens combined with the language dialogue to explain all the elements. For example, when expressing a person's anger, the movie can shoot the expressions and actions of the characters, and the characters can speak and argue about the reasons for the anger. A fusion of dialogue and mise-en-scene. At this time, the image and text dialogue are closely related to each other.
But in the long-range perspective of "Sakura'", the image and dialogue are in a state of rupture. When the audience faces the picture of the car driving for a long time, they will involuntarily shift their attention from the video picture to the dialogue of the characters, so the meaning of the text is highlighted. However, limited by the form of image expression, the picture can only use the driving of the car to express the passage and development of the film's time. If the text is emphasized by weakening the image, why should the director choose the film form to express the text? I can only understand this as the director's shock to the insignificant living state of human beings, so that he can't help looking down at the earth.
The character identities of the three dialogues are more or less directed, such as soldiers and politics, students and religions, old men and history & life. The dialogues can also point to various material and objective issues such as war and poverty. The meaning is already very direct and simple, so there is no need to say more about it. But the protagonist decides to commit suicide, but searches everywhere for someone who can bury himself. Does it mean that the protagonist chooses to return to the dust? Or is it simply seeking the other's identification with life? Regardless, the protagonist's final stand is intriguing.
When the protagonist finally "implemented" the matter of suicide, his position was shaken. Did the old man's persuasion work? Or is it the beauty of life (children running on the playground, smiling couples taking pictures, cats running on park chairs, charming sunsets and maybe delicious cherries) that make the protagonist start to miss life? People always yearn for another choice in life. When you are alive, the desire to die is so strong that the entire movie scene is rolling with yellow sand; It also became bright and clear, and everything became beautiful and moving.
In the last 20 minutes of silence, the audience was as calm as the protagonist, but we could not perceive the final choice of the protagonist. After the lightning and thunder, all eyes were green. This may be a new life, or it may be another possibility. The white effect works great!
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