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英国essay代写:Shadow Warrior

2019-11-06 | 来源:51Due教员组 | 类别:Essay代写范文

本篇essay代写- Shadow Warrior讨论了电影《影武者》。电影《影武者》是黑泽明的代表作,这部影片极致地展现了电影艺术对于色彩、光影的诉求,蕴含了丰富的色彩哲学,通过多种艺术手法,构建了丰富的视觉层次,体现了精致的视觉美感。本篇essay代写51due代写平台整理,供大家参考阅读。

Shadow Warrior,影武者,essay代写,代写,paper代写

Released in 1980, it was the first color film directed by akira kurosawa. The film mainly tells the story of the warring states period in Japan, known as "kai tiger" takeda shingen in the siege of noda city, accidentally died in the army. In order to stabilize the situation, the request before the death of the letter xuan within three years of the secret is not mourning, by a shadow wu disguised as the letter xuan, with oda nochang, tokugawa jiakang two forces mediation.

Akira kurosawa was born as a painter. As early as in middle school, he was determined to become a painting artist. It can be said that the painting art has a profound influence on akira kurosawa's film creation, which is the beginning of the strong color aesthetic feeling in his films. As the first color film directed by akira kurosawa, "the shadow warrior" can be called the acme of the use of color, a large number of rich color impact style is bright, and full of aesthetic feeling, fully highlighting akira kurosawa's high level of color application. Such as in the army evacuated noda city this footage, up to a minute long, photographing the marching in the sunset scene, the change of light and shadow, the yellow colour fundamental key, all without exception shows the director of the perfection of light and shadow color control, the director didn't give to the soldier's facial features, but the glow of the sunset, tumultuous marching queue, tilted flags, and whispers of soldiers, foil out of the failure of withdrawal atmosphere, the setting sun is warm tonal also symbolizes the takeda family now began to decline. Then the style of the picture suddenly changed. The strong color contrast between the red sunset glow, dark clouds and the earth not only produced a great visual impact, but also served to create the environment of the film, strengthen the artistic conception and foil the image of the actor.

Akira kurosawa's use of color art in the film is not superficial, his profound artistic background makes him have a unique control of the beauty of the film picture. For example the most easy to build the color image of the color of the wind Lin volcanic forces, akira kurosawa did not simply gives four different colors directly to the four armies, conflict in color in the picture is too mechanical, but high saturation of the color layout on the soldier's flag, and other places in the picture, such as the sky, armor, ground use color saturation is low, or with black color, the processing technique not only makes the camera contains a fixed color image and color contrast, and make the overall image showing a harmonious and unified visual effect.

In addition to the perfect use of color aesthetics, kurosawa also showed his high level of dynamic composition ability in shadow warrior. As the first shot of the film, which opens with a six-minute set-piece sequence, kurosawa takes it very seriously, blending in rich connotations and intentions. In this period of lens, takeda letter xuan sits in the middle of sitting aside brother letter cheap, below which sat in the shadow fighters, the three form a equilateral triangle composition, interesting is the frame in addition to the three men, and a very obvious letter xuan shadow, director for the scheduling of lamplight is obviously not random, but in the first scene composition combined with the theme of the film. So the theme of the film is simply that the shadow warrior is like a shadow. This understanding is somewhat simplified and mechanized. In fact, in the first act, it is not difficult to notice one thing: the position relationship between xinxuan and the shadow is not just a regular triangular composition. The shadow is at the highest position, xinxuan is under the shadow and is closest to the shadow. In addition, throughout this letter xuan of the knife is on the left hand side, and only the first act of the citic xuan knife on the right, such arrangement is not optional and for, but when the knife on the xuan I on the right side of the letter, just in xuan shadow on the left-hand side of the letter, the position relationship and props decorate is suggested that the theme of the film: tall shadow symbolizes the letter didn't move a mountain of xuan, this didn't move a mountain of "xuan spirit faith" beyond the letter xuan himself even existed.

Not only the first scene, but almost every frame of the film considers the composition of the picture. Introduces in six minutes after the long, the second scene of the film is a sprint orderly sequence of lens, as the music sounded, the messenger ran into the picture, the lens with the messenger in the military through unceasingly, the motion path winding, full of dynamic, soldiers action also stepped up to the banner of the range of the motion picture, let a person appear more vivid, with music rhythm and switch faster and faster, apply colours to a drawing the atmosphere more nervous, until the last messenger arrived in generals of the place, at the instant of the messenger kneel, music to an abrupt end. This shot is very exquisite in scene scheduling, editing and music, showing kurosawa's unique camera movement technique: from close-up to panorama, and then to the lens behind the shoulder of the characters, all of them are processed in the end. Although the shooting method of one scene to the end is not uncommon in the film, kurosawa's every scene movement has a clear sequence of progress, lens movement is very smooth, with a strong sense of narrative.

Akira kurosawa's dynamic composition ability is not only reflected on a mirror exactly the camera movement of processing, but also in his flight reservation long scene of dynamic control, multi-level in order to make the picture look, akira kurosawa tend to add dynamic background after static character, including natural rivers, the rain, smoke, and the army of walking, a boat in the river and so on, so the processing technique of making films in frequent flight reservation long won't appear too drab. At the same time, in order to make the film a greater amount of information, strengthen the emotional rendering, akira kurosawa arranged for a lot of depth of field lens, such as mentioned above in the city of evacuation noda lens march, close shot is the flag of soldiers and skew whispering, middle is lax in March, the vision is the sunset yellow, rich depth of field level the multi-layered visual effect, close shot shows the characters' mentality, middle ordered the withdrawal of the plot, the vision determines the picture color, foil the atmosphere, suggests that the story. Again as in the battle of long Xiao scenario, the director chose not to let the army to charge lens, but use scheduling technique, combining with the camera move, in the cavalry charge scenes from the side, the charge of the cavalry is not go hand in hand, but by far and near successively pass in front of the camera, showing a rich rhythm and dynamic coordination level of depth of field, enrich the visual effect in the grand spectacle. Iv. Unique expression of war

Akira kurosawa has his unique way of expressing the war scenes. As described the history of the shadow fighters began in Japan was the first year (AD 1573) takeda xuan siege noda city letter, end Yu Tianzheng takeda the demise of the family three years while the movie is not real portraiture of this period of history, but under the treatment of akira kurosawa, the film "shadow fighters successfully depicts the fall of the warring states era takeda Japanese family, finally became a great war history movie. Implicated in the movie battle, the battle of long Xiao noda city such as the famous battle in the history of Japan, in describing the battle scenes, akira kurosawa did not choose the conventional direct combat scene in technique, but the focus of the filming to eager messenger, rich color rendering of the night, the noise of gunfire in the darkness, and generals, shadow fighters and others upon the battlefield of the mood changes, through such exquisite detail, the characters emotions, to reflect the war situation from the side of the technique is very clever, Billy sea tactics of choose and employ persons directly taken fighting and killing more clever.

There are many scenes in the film that can show kurosawa's battlefield aesthetics. For example, in the second scene mentioned in the previous article, the sequence of the sprints of the dispatchers follows the track perspective of the dispatchers, and through scene scheduling, the atmosphere of war is completely rendered from a simple dynamic scene. The scene of the battle is mainly depicted in the film near the end of the part, that is the long shishu part.

Before the battle of shun 'i officially began, the director will give the picture to takeda family opponent oda nobuchi, after that takeda sheng lai sent troops, oda nobuchi only said a "mountain moved", and it is this simple word, it has predicted the fall of takeda family end. During the battle of long Xiao in earnest, the director to the lens takeda army charge, horse field woven Tian Jun musket shots, takeda - lai from sitting to anger and emotions in a white and bloodless complexion, and stop the shadow fighters from surprise consternation to pull open clothes painful, to the time-consuming staggered manner, the fierce fighting that end, the entire length of the lens without any soldiers shot down, completely foil out the tragic atmosphere of war and the defeat and stirring emotions. Is that the end? No, akira kurosawa's ability to control the war scene lies not only in his description of the battlefield situation from the side, but also in his emotional sublimation after the war.

Different from general film showed bodies on the battlefield, only dead and up to only a broken flag in the wind is shattered, akira kurosawa scene description include following the defeat of takeda soldiers covered in blood, pain, look down, especially depict horses dying lens, this will be dead not death, dying, relative to an eerie quiet scenes more let affecting, and grief, it is under this kind of emotional atmosphere, shadow fighters filed a pike toward the enemy's behaviour more solemn and stirring, and the fall of the theme of the film and shadow fighters is under this kind of emotional atmosphere.

As the first color film directed by akira kurosawa, "the actor" concentrates akira kurosawa's profound artistic attainments. This paper only discusses some of his shooting techniques, which has certain enlightenment for the study of akira kurosawa's creative style. At the same time, more thoughts and profound connotations in the film still need to be studied.

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