The use of unique artistic techniques to express conflict is an important form of presentation in the film "Kekexili". Director Lu Chuan uses documentary techniques to bring the audience into a real beautiful but murderous wasteland under the simulation of a camera. spiritual ideal. The use of long shots and color The film uses a lot of long shots to show the authenticity of the conflict. At the beginning of the film, a sleeping mountain hunter gradually became clearer as the camera zoomed in. In the close-up, his tired but peaceful sleeping face was seen, but a few harsh percussions followed, breaking the peace and pulling him. Open the curtain of conflict. This is also a small beginning of the conflict between people, and later in the long shot, the sudden death of Jamba and the people who left indifferently showed this conflict (the comma is redundant here) more strongly. Another clever use of long shots was in the scene where Liu Tong was engulfed by sand. From Liu Tong getting off the car to suddenly sinking into the sand, it shows the fragility of human life in the face of nature, and the whole process of Liu Tong sinking down, truly deduces a struggle between man and nature. Liu Tong's two intermittent shouts are heart-wrenching, strengthening the appeal of the plot, and pushing the conflict between people's survival and the harsh environment to a higher level, making people feel the existence of that real conflict. The conflict of colors embodies the film's dominant ideology, the most obvious being the long shot depicting the left-behind and his living environment. A red flag, white cooking smoke, green space, blue background, the contrast between cold and warm, the conflict reappears, the cold and harsh natural environment and the red flag with a strong humanistic atmosphere are contrasted (contrasted) with the warm smoke of cooking smoke, showing that people earn (conquer) nature, At the same time, nature fights back against human beings. This conflict is well expressed through color. Scene mobilization is also very characteristic in the film. The director performed in the part where the left-behind at Bufrost Springs was cooking. He stopped chopping vegetables when Captain Ritai told him that Jampa was dead. The director very ingeniously put the close-up of Ritai's face in the foreground, and the backs of the players as the background. The captain's painful face contrasts with the inner conflicts and collisions of the characters. He was shocked and saddened by the death of his teammates, but he also understood that he had to accept the reality and face it. This kind of impact was well expressed through the mobilization of the scene. The scene of chasing the prisoner also made extensive use of scene mobilization. It did not rely on switching to achieve that kind of tension, but the use of long-shot scene mobilization to achieve it. The use of a large number of cameras, shooting from different angles, the combination of close-up and long-range, with sound and unique scene mobilization, the struggle and conflict between people and the resistance between people and nature during the chase are vividly displayed. Proper use of lens conflict
The dialogue of the characters also speaks of conflict. The two language systems of Tibetan and Chinese are used in the film, as Ritai said: I only think about Hoh Xil, and my brothers. I have bought skins, but I can't do anything about it. It shows how a support captain is in the face of conflict. Pain and helplessness. They are upholding the sanctity and paying the sheepskin. But they had to sell sheepskins in order to survive. This cruel conflict, the director only borrowed a sentence from Japan and Thailand to show it. The use of montage assembly also expresses conflict. The use of parallel montages in movies. It describes the different encounters of the three team members in different environments and the difficulty in walking for people represented by Ma Zhanlin. In the vast wind, sand and snow, there is no difference in people's identities, only the portrayal of small people, fragile lives fighting against nature tenaciously. The conflict between people is so insignificant in such a harsh environment, and what is swallowed up is whether people can overcome the harsh environment. This is well demonstrated through the description and editing of one-by-one montage-style montages. The use of space modeling further sublimates the conflict between man and nature, and between man and man. The bumpy road on the plateau, which does not count as a road, the way of panning several times, driving into the lonely car of the mountain-seeking team, those few cars, even one car, is in sharp contrast with the vast harsh environment, and it truly reproduces people. conflict with nature. It is also on such a road that the mountain-hunting team chases and fights with criminals, uses long shots, and ingeniously combines with space modeling to show the beauty of conflict. The alternate use of various unique artistic techniques in "Kekexili" shows various collisions, which are capable and neat, but show the conflicts more realistically, which makes the film "Kekexili" more appropriate to show the director's creative ideas and force the characters. To a journey of life that cannot be returned, to sublimate human nature.
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