Google Center of Content : Hero - An Analysis of the Zhang Yimou's Movie

Monday, January 13, 2014

Hero - An Analysis of the Zhang Yimou's Movie

Hero Movie poster

DIRECTOR: Zhang Yimou YEAR OF PRODUCTION: 2002 COUNTRY: China/Hong Kong LANGUAGE: Mandarin

Style is a formal system of the film formed with techniques of the film medium. Style and narrative/non-narrative form are two systems that work together with the overall film. Stylistic models are a main part of any film. Additional, group style is the often use of techniques across the work of numerous filmmakers. Style is the collection of different medium particular elements and the used of these elements for specific function in a systematic approach. Style can be used to recognize the artworks of individuals or groups of artists.

The spectator has a relation to style as well. Like other sort of prospect, stylistic one derive from both our occurrence of the world normally and our understanding of film and other media. Several films use techniques that conform our expectations. The spectator mighty not intentionally observes film style, but it does make a significant input to their experience of the film.

The film “Hero” directed by Zhang Yimou in 2002. The film that is recognisable as a conventional Chinese genre. In this film uses the narrative style known as a ‘flashback’. The film begin in the present (a ‘present’ 2,200 years ago) and then anonymous begins to tell his story, allocate narrative point in time to be‘re-wound’. But there is a twist since it becomes obvious that anonymous may not be a trustworthy narrator. He is encouraged by the King to remember things differently, so that we experience some of the similar events twice with different outcome as the story are re-told. Towards the end of the film, the narrative returns to the present and in this ending sequence we experience events in comparable – what is happening to anonymous in the palace and what is happening to Broken Sword and Flying Snow in the mountains. This type of narrative structure is not exclusive, although it is extraordinary. It fits a genre set in a ‘per-industrial society’.
 
The colour cinematography of this film has an intellect of prehistoric yet contemporary. The colours that were selected are faint yet full of meaning. Of course as it is an action film, the sounds and lighting are very vital as it form more remarkable anticipation landscape for the scene. The photography and direction is artsy without being affected. Every shot is valuable of being a work of art itself.

Zhang Yimou’s earlier work is applicable to an understanding of Hero, purely because it sets up a prospect that the colours in the films design will in some way have a supporting message. There are five sequences where a colour also dominates are made ‘meaningful’ in a scene:
 
The King of Qin’s fort is grey/black, enlivened only by display of red. This forms the starting and the end of the story and the generally feel of this sequence expand into the first fight between anonymous and Sky.
 
hero movie scenes

Red dominate the first version of the story by anonymous in which he explain the calligraphy school, the attack by the Qin army, the assault of Broken Sword and the consequent fight between Flying Snow and Moon.

Blue becomes the color for the second version of the story

Green is the color for the story that anonymous doesn’t essentially know since it covers the first meeting of Broken Sword and Flying Snow and also the failed killing attempt.

White is the final color, dominating the deaths of Flying Snow and Broken Sword and alternating with the black sequences back in the palace. Nevertheless, as the filmmakers have point out, Hero is not a ‘pure’ or traditional film. There are other elements that are important. The romance between Broken Sword and Flying Snow is important to an understanding of the narrative.

Bordwell, D, Thompson, K. (2008). “Summary Style as a Formal System” in Film Art: An Introduction. New York. University of Wisconsin. Pp. 304-308. 

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