Rebirth Enchanted Xiangjiang

Yan'er is a stubborn person. Her stubbornness has persisted from beginning to end.

From the beginning, Yan'er was hostile to Songlian who became the fourth concubine, because she felt that Songlian had robbed her of the opportunity to become the concubine and become the master of the Chen Mansion.

Therefore, Songlian has always had a mentality change from beginning to end, but Yaner did not.

Therefore, even if Songlian repeatedly showed her good wishes and let her go, she would have the same attitude and attitude towards Songlian.

This also directly led to the final tragic ending of Yan'er, who was dealt with by the big wife in the family law, kneeling in the ice and snow, but still did not think that he was wrong, so he was hurt and finally died.

Why is Yan'er so obsessed with being a little concubine?

Because feudal thinking has penetrated into her bones, unlike Songlian, she has not received education, and she does not know a single word, not to mention a new type of education that promotes equality and democracy.

She was born and raised in a mansion, and the Chen family mansion is the whole world to her.Becoming a concubine is her only pursuit in life.

For example, a child who was taught that apples are the only fruit in the world since he was a child, how can a child who has only seen apples know that there are many other fruits in the world, and naturally he will not know that he was born. Optional.

Yan'er's sorrow is that she never knew, and would never want to know what the world outside the Chen family's mansion was like.

Therefore, she knelt stubbornly in the snow, and kept kneeling down at night, soaked all over, she didn't admit her mistake.

Perhaps in the eyes of Yan'er at this time, Songlian tore off the biggest fig leaf on her body, and she has become the laughing stock of other servants.

If you admit your mistakes, you will no longer be able to look up in the compound.

At this moment, the only thing that can support her and raise her head is the dream of being a wife.

So, how could she admit it wrong?

When later generations watched movies, Qiao Feng felt that this scene was a great accusation of feudal thought, and to see what it was like to imprison and harm everyone.

When I saw Kong Lin kneeling in the snow to film a scene at night, Qiao Feng's feeling was even stronger.

She feels that such a wild goose is like a moth fighting the fire, willing to jump into the abyss of feudalism without hesitation, and become a victim of the old society stupidly.

"How does the director think about Kong Lin's performance?" Qiao Feng, who was standing behind the monitor, turned to ask a middle-aged man with a round head beside him.

"It's very good acting. It's really good to have such acting skills at this age." The director candidate recognized Kong Lin's performance very much.

Qiao Feng also nodded, he also thinks so, even, he thinks that Kong Lin at this time is really no worse than Gong Li when he played the red sorghum.

Of course, Gong Li at that time was younger than Kong Lin at this time, so in general Gong Li was still very good.

But at this age, I can compare with Gong Li's acting skills, it is indeed very powerful.

Perhaps it was Qiao Feng’s words that evoked the addiction of Director Hou to discussing movies, perhaps he wanted to take the opportunity to get close to Qiao Feng, after all, it is always difficult to find investors for the films of Director Hou.

Anyway, the waiting guide opened the chatterbox.

"The actors perform well, but I think the more powerful is the director's good guidance. Yimou's control in all aspects of scene management, audio and video matching, camera language, and art style is superb."

Director Hou had a lot to talk about, and it was natural that Qiao Feng would not ignore it. That would be impolite. After all, the leader Hou Xiaoxian is the international leader.

Moreover, the assistant director is also the supervisor of the partner Qiu Fusheng faction on the crew, and he has to give the partner face.

But if you want to talk about movies with the waiting guide, then Qiao Feng can't deal with it casually, because this artist's artistic attainments in movies are well-known in the Chinese music scene.

If you want to talk to others at a different level, it would be too bad.

Fortunately, after wearing it for so many years, I have been mixed up in the movie circle. I have made a lot of commercial and literary films. Qiao Feng is no longer the original Qiao Feng.

It is still possible to talk to the director Hou.

Qiao Feng didn't expect the guide to admire Lao Mouzi so much. After all, he said that his colleagues were enemies.

However, Lao Mouzi also respected the leading director. Although it is not as perfect as the director said, the red lantern is indeed very good.

The assistant director only participated in more than half of the filming process, and couldn't see the film yet, but only through his own experience he could tell that the film was well shot.

Qiao Feng has watched the film and has seen it more than once. Naturally, he knows the red lantern better. This is definitely Lao Mouzi's film with the best combination of form and content. There is no one.

"Yes." Qiao Feng nodded and said: "I watched it for a day, and I found that the symmetrical and deep composition method used by Director Zhang is really very appropriate. This composition shows the strong three-dimensional sense of the Chen Mansion Courtyard. The sense of space and layering creates an oppressive, boudoir compound-like mysterious atmosphere. The neat and uniform symmetry is almost obsessive-compulsive, reflecting the orderly, hierarchical, and unshakable feudal patriarchal society. It laid the tragic tone of the whole movie. It is really a very strong personal style."

"Yes, Yi Mou deserves to be a photographer. He is really good at composition. There are colors. Red, blue, and black are the dominant colors. Each color has its own symbol. Red wedding dress symbolizes With lust, the red lantern symbolizes the ghost fire, the red costume and the red cheongsam symbolize publicity. Blue symbolizes the environment. The courtyard after nightfall is blue, the hard night is blue, and the orderly rules are blue. Yes, blue is the repression of everything. The twisted soul under the repression of feudal society is black. Therefore, the deep composition of the overhead panoramic view exacerbates the sense of closure of the courtyard. In addition to the blue environment, the neatly opposed red lanterns, The gloomy courtyard was glowing with red light, as if the evil ghost opened its hideous mouth to swallow the woman inside.

Qiao Feng and Hou Xiaoxian talked a lot, from composition, to color, to various symbols, such as lighting, sealing lights, such as hammer feet, ordering food, such as the woman inside.

More often than not, Hou Xiaoxian is talking about it, because Qiao Feng can’t show that he knows the movie better than Hou Xiaoxian.

That's the hell, even if you use Gong Li to talk to him, you can't explain clearly.

Therefore, Qiao Feng only chooses some things that he has seen today, or after Hou Xiaoxian talked about it, he analyzed Lao Mouzi's thoughts together.

For example, why do you never give Master Chen a face-up shot? Why are the elderly female servants in the courtyard thin and thin with a zombie face? Why are the male servants more angry?

Because just like the hostess in the yard, in the subordinate group, men have more rights than women.

So it won't be as lifeless as the elderly female servants.

At the end of the talk, after listening to the analysis of Hou Xiaoxian, who is also the director of the literary film, Qiao Feng is even more convinced that the red lantern is absolutely different from Zhang Yimou's other works.

Because this film can see almost all Lao Mouzi, whether it is taking him to the international loess and the countryside, or the repressed sex and desire of feudal women who can best allow him to dig out, or it is making him transform. The infamous use of the laid-back color in the commercial film has the ultimate display in this film. They are unparalleled and reconciled under the same theme and shine.

But it is difficult for you to see such a thorough symbolism in his other works: every frame and every mirror are carefully designed, every line and every lyric has an over-the-picture sound, and it is only available in a closed space. The story of rationality finally completed the outline and deepening of the symbolic meaning in "Hanging the Red Lantern".

It's really as exciting as a textbook, and as alienated as a textbook.

How about a national teacher?

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