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The new generation, which Yimou Zhang currently works in, has upheld the color symbols of the old generation and even introduced some new ones as well. The color red is the most outstanding and is symbolic of revolution: little red books, red flags, red guards and not forgetting the red sun, which is symbolic of Chairman Mao. It is along this culture that Yimou Zhang also uses the color red as symbolic. Literature review on the subject reveals contradictory and far ranging interpretations to Yimou Zhang’s red. There are those that construe the red setting identified at the end of Red Sorghum to the red spot in the Japanese national flag. There are those who interpret red lanterns seen in Raise the Red Lantern symbolic of the sexual control of the patriarchal despot. Moreover, the setting sun may also serve to elegize the demised heroine and the red lanterns may also symbolize the accomplishment of the concubine’s desire. The red color as used by Yimou Zhang, similar to other symbols employed by the director, transcends narrow interpretation since it emanates from and also acts as rebellion against tradition. The color red now takes up a myriad of symbols and not merely as a symbol of celebration in traditional china; or the symbol of revolution according to modern china, or a symbol of malice. The color red can also be symbolic of mood. This is according to Yimou Zhang who stated that the Chinese people are often too reserved and too moderate… the limitless fields of red sorghum elicit sensory excitement and encourage an unrestrained lust and zest for life.
Another common theme that can be evidenced in films directed by Chinese film director Yimou Zhang is politics. The color red by Zhang contains to a significant extent contains political messages and inferences. Being brought up in the era of Chairman Mao, the Chinese Communist revolutionary and the founding father of the Peoples Republic of China, Zhang
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Film making in China can be split up into several generations. The period of 1960 to 1980 saw the most dreadful decades for the Chinese film industry. The cultural revolutions and its consequences had a stunning effect on the growth of the film industry, almost bringing the production of films to a near halt.
Along with the distinguished theme, this refreshingly unpretentious and touching film also attracts audience for the splendid performances from its cast that consists of relative debut-artists. Although the soundtrack by San Bao may appear superfluously sentimental, it does not damage the quality of the film as a flawless, perfect romantic drama film.
Having to depict life in movies is not just about entertainment but conveying life-learned messages to as many people as possible.Today, there are two great names when it comes to the genre of filmmaking: the famous Hollywood and the fierce HK Cinema. Hollywood films are known otherwise as the American films while Hong Kong films, basically the HK Cinema, are those films that originated in the East.
The background is white.
I know some details of Chinese symbols and I think the rooster is one of the brightest ones. The rooster is one of the characters in the Chinese zodiac. The rooster is a symbol of the new start, daylight and victory
The lines are very soft and they bend in various directions what gives the illusion that the picture is showing the horse while it is truly running.
Another point that I would like to mention is that I
hough the director had experience making other successful film, the Shanghai Triad was a dip in quality thus fails to rank high as an exceptional movie. However, the director shows great historical accuracy in depicting the state of affairs in Shanghai during the
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