Movie model essay 1
On the Aesthetic Characteristics of Shunji Iwai's Youth Films
First, the artistic conception creation under long shots and cross-editing
From the youth pure love movie Love Letter and April Story under the long lens rendering, to Everything in Lily Week and Butterflies under the cross-sectional lens showing the growth process and transformation. Shunji Iwai has made the most extreme challenges in film style and theme. Youth film? In the artistic conception created, the aestheticism of love, the cruelty of life and the inner confusion and depression of teenagers are all subtle inquiries into the true spiritual world of adolescent boys and girls. Shunji Iwai used a combination of long shots and quick cross-cutting in his films. In All About Zhou Lili, the boy in white stood quietly in the green wheat field with headphones, intoxicated in the music world of Zhou Lili. At the end of the film, the scene of killing Hoshino coincides with Xiao Si's narrative technique of stabbing a pony with a knife on a brighter summer day in Yang Dechang. Shunji Iwai also frankly responded to this question in an interview. I like Yang Dechang's movies very much, but everyone looks at movies from different angles, which leads to different understanding of movies. "More Brilliant Summer" is half my own voice, and the other half is that I devoted myself to everything about Zhou Lili? . ? Summer is scorching, a film with the theme of youth growth, which implicitly expresses depression and cold, while Zhou Lili emphasizes dynamic form, enthusiasm, exaggeration and explosiveness? .
Second, weaken the plot and strengthen the subjective expression of emotion.
What is the popularity of Shunji Iwai in Chinese mainland? Youth literature? This is another feature of his film creation-focusing on novel creation. Of course. Iwai literature? The director's own values are inevitably introduced, and he pays more attention to the emotional expression and psychological changes of the characters than the story. On the one hand, he traces back to the past time with nostalgia, and the nostalgia for childhood in the film has become a fantasy solution for adults to lack youth. There is no strong conflict in the love letter. In the narrative time and space under two clues, the letters of two girls who have never met are linked together. In Mourning, Yoko Watanabe has no intention to explore a love that has been dusty for many years. In the communication, Fujii realized that the feelings of adolescence had already taken root, but it came to an abrupt end with the departure of the protagonist. Shunji Iwai didn't highlight the fear of death in narrative strategy, but gave the audience more room to think through emotional sublimation. On the other hand, he expressed his thoughts on the growth and ideology of young people from a social perspective. In the movie Swallowtail Butterfly, the audience can feel the subtle changes of the hero's inner feelings in the fragmented story, which leads to inner thinking. Is this one too? Iwai literature? From weakening the plot and strengthening the mood? Youth narrative? Construction of methods. However, this kind of subjective expression, which is not strong in plot and strong in emotion, does not apply to any theme film, and also limits the expression of its later film theme.
Third, the similarity of human nature behind the youth image.
? Image refers to the experience of feeling and perception of things that exist in memory. And is the image in the film ideographic, or is it subjective by the director? Meaning? And objective? Elephant? Is it the product of artistic creation? . The library card and Shunji Iwai with Fujii's name written all over it, and the Papilio butterfly engraved on the butterfly's chest show the enthusiasm of youth and the fragility of life through natural images and virtual images with minimalist image style, and show the humanistic care for adolescent groups throughout.
? Is the street covered with cherry blossoms and the red umbrella in the heroine's hand in The Story of April a short and warm metaphor of Shunji Iwai's youth image? . In Everything in Zhou Lili,? Ether? This word runs through the whole movie and is synonymous with the mysterious, sublime and supernatural power of youth. Similarly, the city created in Swallowtail Butterfly does not exist? Du Yuan? , symbolizing the abyss of desire in youth. Shunji Iwai turned all unspeakable images into objective existence. Is this also his right? Youth? An alternative interpretation full of infinite possibilities.
From the swallowtail butterfly? Butterfly? The image is implicit and sad, suggesting the change of two girls in the process of growing up. The butterfly tattoo on Guliguo's chest is proof of her existence. She came and took away the fragility and beauty of a butterfly with a gesture of being tortured by life. Papilio, despite the trauma in the world, is still full of hope. The swallowtail butterfly carved on her chest is an exclusive symbol of her growth. They are eager to fly, even if they break out of their cocoon in pursuit of life. Shunji Iwai used this unique youth image to express his nostalgia for his lost youth. Sinking or destruction is what movies avoid because of darkness, but it is a part of real human nature. Shunji Iwai tried to separate the growing youth from the noisy and illusory social phenomenon, so as to understand the cruelty of reality and the preciousness of the real world.
Shunji Iwai is a director with a particularly strong subjective consciousness, as he himself said. My idea of making a movie is completely extreme? . In the movie Swallowtail Butterfly, he depicts the different identities of robbers, prostitutes and scavengers, showing the life scenes of a group of morbid and deformed people at the bottom of society in the high-speed operation of big cities. However, he did not completely present this gloom, but excavated the goodness in the depths of human nature from their bleak living conditions and mental defects. Even in the surging youth, teenagers still retain their inner purity.
Movie model essay ii
China Classical Literature in Japanese Films
1. Research background
As one of the eight great arts, film was introduced to Japan from Europe at the end of 19, and became a very representative mass entertainment, which was widely recognized by the world. Especially in the 1950s, Japanese films ushered in their own golden age. Led by Akira Kurosawa's Rashomon (195 1), Kenji Mizoguchi's Daughter of the West Crane (1952) and Teinosuke Kinugasa's Gate of Hell (1953) won awards at international film festivals. Throughout the award-winning history of Japanese films, Japanese time dramas, that is, films with Japanese style, have always been welcomed by the international film industry. However, what is little known is that Japanese movies are not just from themselves? Japanese style? China materials, as well as foreign culture as materials, and adapt. For example, during the Meiji and Taisho periods, the foreign culture that the audience was most familiar with at that time was the classical culture of China.
2. Japanese films with classical themes in China in different periods.
The Journey to the West was produced by Ji Ze Store 19 1 1 year, when Japanese films were still in their infancy. Then, in 19 12, when the journey to the west was well received, I made persistent efforts to write the annals of the Three Kingdoms. In addition, a series of films with the theme of China classics, such as "The Leopard Head Lin Chong" (19 19, directed by Xizhi Island Photography Institute and Yamaguchi Tadashi Zhi) and "The Romance of the West Chamber" (1920, directed by Kazuo Tanaka), have been constantly moved to the Japanese big screen.
After that, the world pattern changed and the Second World War broke out. The mainstream of movies has also entered the period of sound from silence. During the war, Japanese films also produced a series of national policy films serving Japanese imperialism, such as the Monkey King (directed by 1940), Water Margin (directed by 1942 Okada Jing) and Opium War (directed by 1943 Mu).
In the 1950 s after Japan's defeat, Japanese films entered a transitional period and entered a golden age. Yang Guifei (1955, director), the demon love of White Snake (1956), the long cartoon The Journey to the West (1960, Xia Taisi, Shou? China's classic literary films, such as Cure of V Bug and Director Masaaki Shirakawa, which are deeply loved by Japanese audiences, have not only been released in Japan, but also entered the Chinese-language market in Hong Kong and Southeast Asia, becoming a unique landscape.
In the1970s, television replaced movies and entered every family in Japan, becoming the mainstream of the times. From 1978 to 1980, the series The Journey to the West (1) and Journey to the West (2) produced by Japan TV Bureau were not only deeply loved by the audience in Japan, but even introduced by China CCTV and entered thousands of households in China. In addition, the film version of The Journey to the West (directed by Kensaku Sawada) made in 2007 earned 4.37 billion yen at the box office, ranking fourth among Japanese domestic films in that year.
3. From China's classical literature to Japanese movies.
Led by The Journey to the West, Japanese directors, screenwriters and actors introduced China classic stories based on The Three Kingdoms and The Legend of the White Snake to Japanese audiences. However, these works all have a common feature, that is, many places have been adapted, showing a completely different flavor from the original.
There will be various new possibilities for remaking foreign classic works into movies. Moreover, although the original work is a classic literary work, its content is not static, and its story has been changing with the development of the times. For example, The Legend of the White Snake edited by Feng Menglong, in which the character and final ending of the white snake are very different from the Legend of the White Snake that we are familiar with now. It is of great significance that Japanese films choose which version of the story as the story manuscript. The same is true of historical stories. Due to the different countries and positions of the producers, the stories told will have different plots. The Japanese Opium War mentioned above is the best example. It is of great significance to study the similarities and differences between the Japanese version of various China classics or historical feature films and the original version, from which we can find their political intentions and ideology.
4. Conclusion
Therefore, in a narrow sense, this study is a study of Japanese films, but in a broad sense, it is actually a study of media and popular culture. Because the research objects involved in this study can be said to have never been concerned by traditional research institutions, the analysis of this kind of films will give a glimpse of the characteristics of the times, the history of foreign culture and the history of film exchange between China and Japan. It is also a supplement to Japanese film history, which is of great significance.
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