YULIANG LIU

The films in April, three weeks and two days were connected by long shots, but I watched them all at once and did not feel bored. However, some of the long shots I tried to shoot were very bad, which even I could not watch. Throughout the whole film, I think the following inspirations have given me in April, three weeks and two days

Film with Gabita staying in a small college dorm as beginning with the tank on the desk for visual center, composition is symmetrical, screen shaking slightly, showing the girls with no packing director ready to tell the audience is going to happen, or tell the audience why two girls do these intentions need to spend time from these irrelevant ordinary audience dialogue and pause inside to find out the meaning of you will be staying in the furniture old dormitory dark narrow aisle in these pictures look at the lack of artistic quality, more like a real life scenario.

These scenes, in fact, we usually think the lack of artistic quality, lack of delicate picture, color is grey, but this is precisely what the film aesthetic choice for a win four month three weeks, two days of aesthetic style is rigorous, it avoids the boast that the god point of view, is neither very close to the lens, no motives unknown camera movement, no one does not change the point of view of character position transformation, nor any symbol or metaphor is a lack of sense of form the picture has not weakened the film conveys the power of language(Zhao, 2012). A sense of urgency is created by the long, continuous, serious shots in a small space that make people dread what is going to happen next, and the director does a good job of setting the tone and style of the entire film in the opening scene.

Scene, the character of changing scene change out of the character of change, let the film content rich second lens (thou ~ 5:03), the protagonist, Otilia went out of the bedroom, in the corridor asked the whereabouts of Peter in the distant classmate, after come to the fog filled the baths, but learned that Peter in the lavatory opposite the lens followed her to the bathroom, with Pitt in after a short dialogue, Europe's Otilia went back to the corridor, open, a male student's bedroom door, with him to buy some cosmetics As Europe's Otilia leave boys dormitory opposite out of a cat, then Europe's Otilia chat with the owner of the cat and the two sentences here, the lens also don't pass, Otilia, her to go back to the dormitory, the corridor another piece out of a man, told the news of her blessed than father will come tomorrow two 26 seconds, Europe's Otilia place: bath lavatory corridor boys dormitory corridor cat owners at the gate of the door, with five people had dialogue, on account of many scenes and showed a great amount of information: Europe's Otilia in the daily life of the school is so simple and trivial.

27 minutes and 40 seconds to start the film such a lens: a postman moving painting, painting right to ride a bike, camera moves with he left the postman with a picture of a camera move which in turn is a group of children are playing football, at that time, Otilia and red cars from the left to enter, middle-aged man through the crowd with a lens to move to the left, it's on the bypass after another white car parked right in front of the camera This lens to painting a complete circle, including whether the postman, child, or cars, are for undulating lines imparts a sense of movement to the lens and the sense of speed, these are the long shooting techniques to prevent the audience visual fatigue in after drawing the circle, the director has not stopped immediately, the lens moves closer to the red car, middle-aged man around the car, at the beginning of the foreground and his mother's dialogue, which brings out the mother again.

The fast-paced, natural dialogue is actually reflected in the previous point. The role of dialogue in the film is three :1. Promote the development of the story.

2. Highlight the character. Over the course of April, three weeks and two days, there were many long shots with such conversations that kept the audience hooked.

31:48 seconds before the film, and Otilia and Gabita to do one thing, but has not said understand, Otilia also just with my classmates, and her boyfriend, and a middle-aged man interminably dialogue, the dialogue constantly suggests that something will happen in the future a long until the room (31:48 ~ let), by middle-aged men and their a large section of the dialogue, we know the Otilia to help roommate Gabita, and at the time of Romania, abortion is an illegal things

In this long shot from 1:14:25 to 1:21:43, because her boyfriend's mother's birthday, and Otilia to come to her boyfriend's house, in front of a big dinner table, Otilia and her boyfriend the center of the sitting in the picture, the boyfriend's family and friends sat on both sides, in seven minutes long, adults have been around talking, talking about the two young people, to talk about their own careers, and Otilia and her boyfriend is not active said a word. To be honest, this is the only scene in the whole film that makes me feel bored, but this is exactly the intention of the director. The bored feeling of the audience is the bored feeling of Otilia and her boyfriend. Their aphasia here is shown by the dialogue. This gave me another inspiration for taking long shots: don't take long shots for long shots' sake, you have to mean something.

When choosing to use a long lens, you can think about what effect this story will have if it is shot with a shooting lens. Why was it shot with a long lens, and what was the point of shooting the story this way? Is it necessary or can it be cut? That's what I think about this film

Reference List:

Yun Zhao.(2012). An Analysis of the Music of Kung Fu Panda Series. Film Literature (04),66-67. doi:.