Analysis of "Raise the Red Lantern"

        Yi-Mou Zhangs Raise the Red Lantern, is a beautiful and brilliantly do film in its own right. If, however, the team of Orson Welles and Greg Toland had produced the kindred film it would come upon on an entirely polar bill and feel. The film would reflect Wells love for creating physical representations of thematic metaphors and the long realise and Tolands brilliant use of profoundly proportion photography and mobile framing.         Under the direction of the Wells-Toland team, the film would take on subtle, yet significant difference of opinions from the very beginning. In the ember scuttle scene, with Songolian and her step flummox, the focus of the camera would still be a ordinary sloshed up of Songolian; but, the previously undetected mother would direct be seen in the extreme understate and edges of the frame. Using deep focus and choreographing her movements the mothers character would still lodge faceless, but would bet more tangible and the feeling of quad between the mother and her stepdaughter could be re- enforced.         The next major difference would be seen in the sequences involving Songolians admittance into the house itself. In Zhangs authoritative version, Songolian enters the frame with the loyalty on the back besiege shown briefly.

The W-T alteration would begin the entrance sequence with a medium close up of the lettering itself, slow panning from left to right, just slowly enough to manage the characters but fast enough to non allow the audition to actually read the scroll. The significance of the inscripti on on the wall has been explained as being n! ot in the inscription, but in the characters themselves: in the oldest Chinese societies the written characters were created with peremptory meaning delegate to them, only scholars and the aristocracy had the time and sum to learn the meanings of the thousands of different characters... If you want to get a adequate essay, order it on our website: BestEssayCheap.com

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