Focus: Interpretation of Ideographic Symbols

The film "Warm" (2004) not only won the Golden Rooster Award for best film, but also won the 16 Tokyo International Film Festival for best film. With this beautiful picture and poetic mirror language, the film constructs a broad ideographic space, and through the warm and gorgeous youth of the heroine, the sadness and helplessness of the girl are seen from a small perspective. The use of a large number of ideographic symbols constructs a channel from real space to intentional space, which embodies profound ideological connotation.

Swing. The story takes three warm feelings as the line, and the swing becomes the core ideographic symbol connecting them in series. Swing makes Wennuan feel the wind, which becomes the witness of three feelings: when Wennuan and Xiaowusheng fall in love, Jinghe and the mute come to the swing and feel sad on the swing in tandem; When the well and the river are warm together, the mute swings empty, as if it were warm; When the warm well swings with the river, the rope suddenly breaks, which seems to indicate that this relationship will end in vain. Seeing the warm swing reminds me of "the swing inside the wall is outside the road, and the layman inside the wall laughs". Although there is no wall here, the core wall built by boys and girls is more attractive.

In a sense, Wen is the swing of love between Xiao Wusheng, Jing and the dumb, but for Wen's restless heart who wants to get out of the mountain village, Xiao Wusheng and Jing He are the swings she wants to swing out of the mountain village, and the swing has inserted ideal wings for Wen. The man who broke his word was allowed to swing around, so he could only swing around in the same place, so the dumb man who couldn't get out of the door finally married Wen who was disabled.

Leather shoes. This is probably the coldest place in this movie. Poverty buried the love of this rural girl in the yearning for a pair of leather shoes. Sadly, she pinned her fantasy of leaving the countryside on one man after another, such as Xiao Wusheng and Jing He, while the mute wanted Wen to leave here, but she didn't have the ability. Through the warm collection of leather shoes, it seems that not all men can be called princes, and not all people can become Cinderella.

Aphasia. This film constructs an ideographic space on the basis of the imbalance and inequality between rural and urban areas. The most obvious example is Mr. Cao's transformation from authority to aphasia. In the past, Mr. Cao was regarded as the most literate person in the village. Jinghe, a city man who came back from school, easily solved the problem that plagued Mr. Cao for two years and his position was replaced. The urban-rural innuendo of these three feelings is even deeper. Xiao Wusheng represents the city, and Wen gave up the enrollment of the county troupe, which not only showed his obsession with men, but also reflected his persistence in the city dream.

Warmth sets the rules, from childhood to the well river in the city, but you can go to the well river in the university, but the scenery in front of you is no longer limited to swing and warmth; Wennuan got the leather shoes she dreamed of, and the shoes became scenery and compensation for her warm feelings. Her "prince" is gone forever. The mute who can never leave the countryside marries Wen who cherishes shoes, just like putting away his restless heart, turning it into dust and fog, and turning it from a rulemaker to an aphasia.