With the development of science and technology, more and more movies made by computer technology appear in people's sight. Among them, the attendance rate and box office return rate of superhero movies are extremely high. The following is what I arranged for you for your reference.

On the Oriental Art of Chen Yingxiong's Films.

[Abstract] Chen Yingxiong combined the cool oriental cultural concept with the western film art through his unique way of thinking. In his representative works, there are both hometown complex and the curiosity of Vietnamese culture in European oriental plots. He emphasized poetic description and touched the hearts of the audience with film language, just like poetry. Even in the face of a land full of suffering, tears and despair, Chen Yingxiong is still full of poetry. Based on Chen Yingxiong's film creation, this paper explores Chen Yingxiong's cultural background and analyzes his film creation and its cultural connotation, so as to deepen the understanding of Chen Yingxiong's director style in a higher and wider field.

[Keywords:] Oriental culture; Vietnamese films; Directing style

Vietnam, once called "Indian zhina", is a close neighbor of China. The decades-long war has kept it away from our sight and made the world misunderstand and curious about it. After the 1990s, Vietnam has returned to our sight. Colonial movies have become a movie trend, which provides beautiful illusion and soothes reality. While exotic films such as Lover and Indian zhina attract the attention of western film circles, a film "The Taste of Green Papaya" makes us see Vietnam closer to reality. Although Chen Yingxiong, the director of this film, is a film director trained by French culture, he has the quiet and shy temperament in Vietnamese traditional culture, thus forming his unique film thinking and expression way of observing and expressing things, a quiet, elegant and frank oriental art.

First, the cultural background of Chen Yingxiong

Director Chen Yingxiong is a famous Asian French director in the international film industry. He was born in Vietnam and immigrated to France at the age of 14. I studied philosophy at first, and then I occasionally saw a movie made by a Vietnamese director that moved him and decided to switch to movies. And this decision began his film life. Therefore, Chen Yingxiong entered the famous Louis Lumiere College, which specializes in training cinematographers, to study photography technology, because he thought that the director's scene scheduling ability should be learned from watching movies. In this way, he formed an indissoluble bond with the film, and then began his career as a film director. Chen Yingxiong gradually formed his own unique image expression technique in his film and television works. In 20 years, he only made five films, but this did not affect him to become a famous director in the Asian film industry, which benefited from his strong personal style.

Vietnamese films are not developed, and Vietnamese films received little attention in the past. When it comes to movies about Vietnam, you can't help but think of the classic American movie Forrest Gump and the exotic romantic movie Lover under the lens of Duras. However, the story lines of these films have nothing to do with Vietnam, which is just the background of these exotic films. Different from other films, which are filled with smoke, poor and backward, Chen Yingxiong, a Vietnamese-born French director, showed us a colorful, soft and quiet Vietnam with his lens. Tiny sunshine pours down from the gap between trees, with leafy banana trees, charming kapok trees and green papaya under the scaffolding in the Chinese courtyard ... Vietnam here is not only colonial, war and poverty, but also exudes the fragrance of oriental women with its unique poetic and sad life breath, just like a Vietnamese girl dressed in ao Dai.

As a Vietnamese living in a foreign country, Chen Yingxiong is nostalgic for his hometown. Under his lens, he photographed Vietnam as beautiful as his childhood dream. However, while sketching the beautiful dream memories of his hometown, he still paid attention to the social reality of Vietnam and described the cruel and ferocious reality of Vietnamese society. He focused on the current situation of the bottom society in Vietnam, such as stinking streets, troublemakers and violent hooligans, which caused people to think about reality. In Chen Yingxiong's most famous "Vietnam Trilogy"-the smell of green papaya, rickshaw puller and summer, he has been writing about his feelings and feelings about Vietnam, expressing the unique oriental cultural atmosphere and oriental philosophy in Chen Yingxiong's films from the aesthetic photos of quiet daily life, poetic picture language in nostalgia and expectation, and sometimes poetic metaphor, forming his distinctive personal style.

Second, the film style directed by Chen Yingxiong.

A character: ordinary people and oriental women.

The epic historical theme and passionate great feelings have never been the theme of Chen Yingxiong's films. In his works, there are no heroes that everyone looks up to, only ordinary people in real life, because in fact these humble but tenacious bottom figures are the real protagonists in life. For example, in The Taste of Green Papaya, the maid Mei, who always wears a satisfied smile on her face, the "tricycle driver" who is still gentle in a sharp and severe situation, and the three sisters who live quietly in a painful marriage and love are all ordinary people in life. Their most real daily life is the simple and simple warmth in life. Chen Yingxiong's works embody the style of neo-realistic movies, and he pursues a simple and tough life atmosphere. He always focuses on the life situation of ordinary people in reality and interprets his oriental philosophy from the attitude of small people to life. In the smell of green papaya, I quietly watched all the joys and sorrows in this yard, and the plum with a satisfied smile on her face was always there. In The Tricycle Driver, the tricycle driver silently stares at violence and death. In The Taste of Summer, the three sisters who calmly resolve and cover up all family conflicts and secrets all interpret Chen Yingxiong's philosophy of life that she is detached and patient in the face of everything.

Chen Yingxiong is not only willing to target ordinary people, but also praises his tough, tolerant, patient, peaceful and quiet oriental female images in the camera. In his works, men are weak and women are masters of life: firm and wise, calm and forbearing. The pictures in his movies always show his attachment to this kind of woman. Mei and Mei's mistress in The Taste of Green Papaya, the eldest sister and proprietress in The Tricycle Driver, and the three sisters in The Taste of Summer are all oriental female images with distinct temperament. In these films, Chen Yingxiong's appreciation and praise for women is a transformation of his infinite homesickness for his childhood hometown. These women are soft, tolerant, determined, calm and introverted, which embodies the ideal oriental female image in the creator's mind. At the same time, he used this reverence and praise to silently praise the cowardice, incompetence and irresponsibility of men in a patriarchal society.

The second plot: the interweaving of warmth and cruelty

Chen Yingxiong, a wanderer who has been away from home for many years, started from the expectation of watching movies in the western world, combined with his own cultural tradition and self-awareness, broke through the speculation and imagination of the western world about Vietnam's subjective monopoly, and showed the world Vietnam's tradition and modernity, tenderness and cruelty, and flexibility through images. This is Chen Yingxiong's way of thinking about the motherland's past, gazing at the present and paying attention to the bright future. The warm past is intertwined with the cruel reality, and all the damp heat, gloom and fanaticism in his films make Chen Yingxiong calm down with poetic repression and detachment. Calm the pain with silence and let the warmth and cruelty interweave.

Just as the lens in "The Taste of Green Papaya" swayed upward from the heroine Mei who was happily studying in a golden turtleneck dress, a serene Buddha statue appeared. Here, Chen Yingxiong described another concept and ideal of harmony with nature, purity and harmony. Enter the highest spiritual realm with an absolutely empty mind: absolute freedom. After the disintegration of the dual constraints of time and space, logic and rationality have become burdens, and there is no competition between material desires and fame and fortune. So as to finally realize the meaning of survival and spiritual pleasure. At the end of the movie "Tricycle Driver", on New Year's Eve, everything changed overnight, and life was calm again. The camera zooms on the broken wall outside, turns to the tennis court swimming pool inside the high wall and the people inside, and returns to the city street where it suddenly becomes sunny outside. In the crowd, the tricycle driver glided forward on a brand-new tricycle full of family happiness, and then the camera gradually rose, and a group of children were concentrating on learning the piano in the classroom. The seemingly abrupt ending is thought-provoking. What makes these ill-fated people so calm in the face of suffering? What makes them take their places in the chaos of wandering? Obviously, this is a state of living in silence, not the usual desperate blood and tears, but a faint sadness on the way home in the sense of life, and An Tian knows who knows what life will end with.

In Smell of Summer, Lian, the youngest of the three sisters, goes out with his younger brother to prepare his father's anniversary sacrifice, which just echoes the beginning of the film when they go out to prepare their mother's anniversary sacrifice, and the bell in the distance is the same, as if all the love disputes have never happened. Instead of indulging in the pain of life and social anger, the director ended the film in a romantic style, which is undoubtedly the image embodiment of the aesthetic ideal and thinking consciousness of the East, especially Confucianism. Love and death, happiness and pain coexist at the same time, and everything is self-defeating and natural. In the bright sunshine, no matter how dark and hopeless life is, no matter how sad and horrible the process is, it can contain people's hearts and love for life.

This is actually the way of life in Chen Yingxiong. From the Buddha statue to the bell, it has hinted at the perfection of oriental style. Such poetic description, non-linear writing, such compassionate feelings, and such philosophical spirit beyond real suffering make Chen Yingxiong's films depressed but not dignified, depressed but not desperate.

Three paintings: the combination of painting and poetry

Chen Yingxiong's films are full of poetry. He is more like a poet, turning the story in his heart into elegant words, and presenting his movie pictures poetically and meticulously in Wen Ya. The color of oriental poetry and painting has a deep influence on the visual image of Chen Yingxiong's films, while Chen Yingxiong is very good at replacing the characters' language with beautiful and implicit images with far-reaching artistic conception, conveying unnecessary beauty with beautiful visual images and poetic scene atmosphere, and conveying infinite charm within a limited picture. For example, in his works, he deliberately uses the original ecological description technique to express the natural poetry of rural life, and uses the color picture with high saturation and the slow-paced translation lens to express every exquisite detail of the environment and characters in the picture, so that every simple action of the characters shows a simple and natural charm, and a kind of praise and poetry always permeates the lens. In the film The Taste of Green Papaya, there are quiet, natural, poetic and quaint courtyards, which vividly show the natural state of life, such as green leaves fluttering in the wind, papaya tree in the sun, old slate and so on.

Third, the presentation of oriental culture in Chen Yingxiong's films.

Taking calm oriental philosophy and the individual consciousness of western art films as the thinking form, taking images as the main form, and often adopting the methods of symbols and metaphors, the fluent film language can be perfectly integrated and presented, so that the revelation of reality and the preaching of the world in the film are hidden in the unobtrusive poetic mirror language, and the oriental philosophy is naturally enriched in the works, forming the unique style of Chen's films. In the film, the political background and educational significance are hidden in a poetic lens, and the traditional ideas of the East, the karma color of Buddhism and the inaction thought of Taoism naturally blend. Chen Yingxiong described his feelings with his oriental philosophy, and at the same time interpreted his oriental cultural ideals with the Vietnamese mind. For example, in The Tricycle Driver, there are two opposing living states. The gloom and fanaticism in the face of suffering, as well as the helpless calmness to quell the pain, blend together gracefully in Chen Yingxiong's film world. Oriental people's highest pursuit for the realm of life, that is, the feelings of joining the WTO, is engraved with innate detachment and calmness. The world is cold, the wind is light and the clouds are light, and they always maintain an ordinary and calm mentality and calmly deal with it. In Chen Yingxiong's films, clean, bright and simple film pictures are directly used to shape the impression of the film, express the feelings of nature and life with a quiet and peaceful artistic conception, and endow the images with unique human care, which also reflects Chen Yingxiong's Taoist thought based on calmness and nothingness and Buddhist thought based on everything being empty.

The eastern cultural background and western culture endow Chen Yingxiong with a unique perspective to observe Vietnam. At the same time, the cultural connotation and historical accumulation in his works are far more than the expression of a single nation and the expression of extreme regional color, thus gaining greater cultural compatibility and the hidden space of world cultural freedom, enabling him to tell a brand-new Vietnam from a unique perspective and dig out the unknown side of Vietnam. Chen Yingxiong made the East. His films have won numerous awards internationally, and in Vietnam, besides being accused of "showing too many dark sides", they are also very popular. These also show that he not only mastered the international film language, but also mastered the lifeblood of his own national culture.

In a word, Chen Yingxiong's oriental cultural background and later western cultural education made him organically integrate eastern and western cultures with seemingly unrelated things, which became the highlight of his films. Just as Abbas is to Iranian films and Hou Hsiao-hsien is to Taiwan Province films, Chen Yingxiong has become a banner of Vietnamese films. Although his works are accused by a few people as "showing too many dark sides", it cannot be denied that Chen Yingxiong's perfect interpretation of oriental art in film art, especially. His films have won numerous awards in the world, which shows the artistic value of his films. Chen Yingxiong's keen artistic perception and real feeling for local culture endow the film with rich oriental color and weave it into a soft and slender oriental fairy tale. Chen Yingxiong ingeniously combined the eastern and western cultures, and blended the nutrients in the world film art with the spirit of traditional oriental art, showing the world a different Vietnam and exploring the forms and styles of oriental philosophy films with modern significance. The sense of oriental art shown in his films still shines in the long river of movies.

[References]

[1] Zhu Liyuan. Contemporary western literary theory [M]. Shanghai: East China Normal University Press, 1997.

[2] David? Cobo Kaul. Technology and aesthetics of film and television directors [M]. Beijing: Beijing Broadcasting Institute Press, 2004.

[3] Li Xianjie. Film rhetoric [M]. Beijing: Culture and Art Publishing House, 2005.

[4] Jin Danyuan. Postmodern context and film and television aesthetic culture [M]. Beijing Lin Xue Publishing House, 2000.

[5] Jin Danyuan. Introduction to Film Aesthetics [M]. Shanghai: Shanghai University Press, 200 1.

The second chapter "Color in the composition of character design in the movie Hero"

Abstract: The development of film and the application of color art design in film are constantly promoted and infiltrated. In the process of film art design and film dissemination and distribution, the color art design of film plays a vital role. The color design of the film has a strong role in promoting the planning and deepening of the character scenes, and also improves the execution of the film art. In addition, the color design of the film itself also has a good role in promoting the color design art industry. This paper mainly takes the film Hero by the famous director Zhang Yimou as an example, and makes a detailed and in-depth analysis of the composition of color art design in the movie character scene.

[Keywords:] movies; Color art; Character scene; Relationship; compose

Film is the subjective initiative of film creators, such as directors, to express their feelings and views on objective things, that is, "to give things feelings." The language of movies is very different from the language of general art, because there are a lot of pictures in movies, and colors undoubtedly occupy a very important position in the pictures. Wang Guowei once said, "If you have my own realm, you can see things with me, so everything is my color". In the film Hero, color is well versed in the use of character scenes, and the use of film color is bold and wonderful. With the help of film color, the film hero skillfully completes the narrative and emotional expression of the film, arouses the emotional world of the audience and impacts the visual nerve of the audience. The colors are complex, but childlike and theme are not lost. Thick colors are the most elegant, showing the gorgeous art of Zhang Yimou-style movies.

First, the definition of film and color design.

The definition of film

As a comprehensive work of art, film is the crystallization of the integration and development of various art forms. The film explained in The Sea of Modern and Contemporary Chinese Words is a comprehensive art that continuously projects the shot images on the screen with strong light, and looks like real moving images. 1872, the film began to appear, entered the embryonic stage, and then further developed, gradually matured and went out of control. The film has been 137 years now. During this period, the artistic connotation and artistic form of the film have been developing continuously.

Definition of color design

Color design, in popular terms, is the collocation of colors. In nature, colors are complex and colorful, and the design of colors is to reasonably match different colors to achieve perfect and more beautiful colors. In color design, color matching is varied, but we use our vision and our eyes to observe our environment. The first thing that comes into our eyes is color, which is the magician of nature. It produces various visual effects, brings us different visual enjoyment and visual feast, and directly affects our aesthetic cognition, emotional changes and even fluctuations in living conditions and work efficiency.

Secondly, the color in the movie Hero is analyzed in the composition of the character scene.

As we all know, every picture of a movie is made of color, and color has become an important art form of the movie. As the most dazzling star among the fifth generation film directors in China, Zhang Yimou's color art reached its peak in his films. It is no exaggeration to describe Zhang Yimou's use of color with an ancient poem by China, that is, "light makeup is always appropriate". His films created a gorgeous "color feast" in the use of color. Zhang Yimou used creative colors to enhance the artistic effect of the film, which constituted the unique color art of the film. Then, as the representative work of Zhang Yimou's color application, how did Zhang Yimou use his intelligence and design inspiration in the color composition design of the film Hero? Mainly reflected in the following four aspects, that is, the color matching of characters' costumes in the film, the color configuration of the film scene space, the color of the main line of the story, and the color composition of the whole space-time paragraph. We only make an in-depth and detailed analysis of the composition of color art design in the character scene of the movie Hero, as follows:

In the movie Hero, the composition and configuration of color design in the character scene are mainly reflected in the lens. One is the color collocation in the scene space artificially constructed for the application of movie scenes, and the other is the color collocation and setting in the scene based on the natural space environment.

The application of color collocation in artificially constructed scene space in movie scenes.

There are five spatial scenes in the movie Hero, namely Qin Gong, Chess House, Library, Broken Sword Room and Library Pavilion, all of which are artificially constructed for the application of movie scenes. In these five spatial scenes, the artistic design of color is bold and smart.

Qin Gong's main color is black, which is self-evident. It not only symbolizes the supreme imperial power and unparalleled arrogance, but also symbolizes the cruelty and viciousness of Qin Shihuang. At the same time, it also implies the tragic ending of the movie hero and his mourning for the hero to a great extent. However, besides black, there are green dots in it. According to the author's research, the main significance of this color symbolizes the unpopularity of Qin Shihuang's brutal rule, and these Zhao Jianke's successors and rebels will continue after stabbing Qin.

To a large extent, the chess room is also to match the tone of the whole movie-sadness. The main colors of the chess house are black, white and gray-black, which not only conforms to the characteristics of the chess house itself in a great sense-black and white, but also embodies the gossip implication that the vast arid land should be harmonious and unified, adding tragic color to the film, and has ideological fighting significance in a sense.

The main color of the library is bright red. In the traditional sense of China, red has a feeling of vitality and joy, but at this time, in an environment where the surrounding environment is all black-and-white film, the sudden appearance of red is uncharacteristic. In the movie Hero, the meaning of red is clear. Bright red color and blood spread all over the library, giving people a feeling of extreme depression and sadness, indicating the tragic ending of the film.

The remnant sword room and the library are the two most vivid scene colors in the artificially constructed scene space of movie scenes, namely red, green and red, blue and white. In China's traditional color matching, the matching of red and green has always been a taboo, but in this film Hero, red and green are boldly and skillfully used together to outline the color picture of the remnant sword room, which is easy to remind people of the disharmony between red and green, and it is this disharmony that subtly reveals to the audience a kind of struggle and confrontation, a situation of incompatibility between fire and water; Then, in the color matching of the artificially constructed scene space for movie scene application, the application of red, blue and white in the library is the most complicated, which also shows the complexity and contradiction of the plot and psychology of the characters in the movie. At the same time, "black" and "red, blue and white" are not only symbols of the country, but more importantly, the iron-like "black" advocated by Qin State is used to emphasize the bullying and annexation of Qin State. There is also the red in the three colors of "red, blue and white", which particularly highlights Zhao Jianxia's hatred of Chou He, a nation that swore to defend the country, and his firm stance and belief in assassinating the king of Qin. The unknown "Kung Fu Decade" practiced the stunt of "ten steps and one kill", went to the meeting alone, faced the king of Qin and died in the battlefield; Heaven, broken arrow, Fei Xue and other chivalrous men are willing to lay down their lives to help the unknown assassination succeed. In the movie "Hero", the color of the outdoor scene uses a highly enhanced monochrome configuration, which is so massive, the design is so meticulous and calm, the belief is so firm, and the soul is so pure. Through the previous outdoor scene color design, we can easily find that the color of the scene space artificially constructed for the application of movie scenes is basically a single solid color. According to the author's understanding, the creator's use of a pure color is a calm and rational thinking on the level of cultural concepts and a sublimation of artistic design.

Color Matching and Setting of Natural Scenery Based on Natural Space Environment

The collocation and setting of natural scenery colors based on natural space environment mainly refers to the external environment, such as Populus euphratica forest composed of gold and full red; Alpine waterfalls such as Baishui Qingshan; Such as Mobei sandy land composed of khaki sandy land and blue sky; Such as green lakes composed of green mountains and blue sky; Another example is the barren platform hills composed of golden land and blue sky, and so on.

In China's traditional consciousness, yellow is the typical color of the earth, and loess represents China to some extent. Therefore, the large-scale and wide-ranging application of yellow and yellow earth colors in the movie Hero makes the movie Hero have its own national feelings, and at the same time, it increases its national complex and cultural characteristics. As we all know, yellow has a meaning of "radiant", so in the movie Hero, it symbolizes the noble temperament and deep mood and emotion of the hero. Just like the "Yin-Yang and Five Elements" said by the ancients in China, yellow is the central color, which corresponds to the most important part of the human body-the heart. Therefore, among the five elements, "yellow" symbolizes "harmony", so we in China regard yellow, the color of the earth, as the supreme color.

Green, appearing in western wedding dresses, symbolizes the idea of having more children in the future. So in China, green symbolizes rebirth and endless life. In the movie Hero, the implication of yellow "middle" and "harmony" and the ingenious conception of the broken sword flying snow and green clothes really reflect the same effect to some extent, which is a cultural echo.

We switched from the green field to the blue sky to see the performance of Canjian himself from "swearing to kill" the king of Qin, which is also a kind of heroic wisdom and calm thinking; Snow in the desert, nameless challenge, killed in Qin Jun array, but failed, a fair death honors the whole life. In the end, they exchanged the destruction of "small life" individuals and tiny groups for the imminent birth of "big life".

The color of the indoor scene in the movie Hero is mostly primitive and natural, which comes from the freehand brushwork color of nature. On the whole, the color of the protagonist in the whole film has formed an organic integration and ingenious combination of freehand brushwork and realism. As far as the scene composition of movie characters is concerned, color not only lays the foundation for the aesthetic intake of the picture, but also provides favorable conditions for the emotional expression of the characters.

As far as the film Hero is concerned, from the different color configurations and designs used by director Zhang Yimou in different scene spaces, we can clearly find the creative thinking of Zhang Yimou's color design: in the color design of indoor scene spaces, most of them are purely subjective and freehand; In the color design of outdoor scene space, pure natural design is often adopted, that is, an original natural color is borrowed. Therefore, we say that Zhang Yimou's film Hero is at its peak in the use of color, with extraordinary brushwork.

Third, the conclusion

Film is an art with vision as its main form of expression, so for a good film, its visual beauty must be strong, so that the audience can see it and feel comfortable. For the description of the picture, color occupies a large part, and Zhang Yimou's use of color is the ultimate, "light makeup is always appropriate". In his film Color, we can perceive the meaning of color itself, as well as the feelings and thoughts that director Zhang Yimou wants to express. The film Hero, as a classic of Zhang Yimou's film color application, is a feast of color. By dealing with folk colors, color details and simple colors, he achieved the effects of plump characters, harmonious pictures, complete narrative and rich emotions. The film Hero has rich and colorful pictures, profound meanings and profound artistic conception.

[References]

[1][] urban lady. Color history [M]. Hangzhou: Zhejiang People's Fine Arts Publishing House,1990:160-162.

[2] Yu. Light makeup is always appropriate —— On the color art of Zhang Yimou's films [J]. Journal of Fuling Teachers College, 2004.

[3] Chen Huan, Yuan Xiaohua. Interpretation of Red —— On the application of color in Zhang Yimou's films [J]. Journal of Hangzhou Normal University, 1994.

[4] Wang Kaiqing, He Peihua. Application of Three Elements of Color Design in Movie Posters [J] Packaging World, 2009 1 1.

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