Formalism and Realism in the Movie Hero

Movie Hero Director Zhang Yimou clay sculpture Jet Li, Tony Leung Chiu Wai and Maggie Cheung Year of production 2002 Country of production China oral communication Mandarin picture synopsis The Qin mightiness was obsessed with conquering each(prenominal) of China and becoming the first Emperor. He had been the target of assassins throughout the other(a) states. Among them none inspi red ink as both(prenominal)(prenominal) fear as the tercet legendary assassins, Broken brand name, Flying Snow and Sky. To anyone who defeated the three assassins, the King of Qin promised great power, mountains of gold and a private audience with the King himself. adjacent this unsung came to the palace bearing the legendary weapons of the slain assassins, sitting in the palace, and told his extraordinary tale. Journal question How does the color cinematography of Hero (Zhang Yimou, 2002) get to conformationalism? In art theory, formalism is the concept that a wrenchs artistic value is en tirely determined by its formthe way it is made, its purely visual aspects, and its medium. Formalism emphasizes compositional elements such as color, line, shape and texture rather than realism, context, and content. . In Hero, Zhang Yimou combines cinematography with mise en look to bring his own vision of the story, particularly with the use of certain colours. in that respect are a total of five colours in this picture show which choosed to express different strains or point of views black, sinlessness, red, blue, and green. Zhang Yimou uses the four colours, Red, Green, Blue and White, to fix in four different segments of the story. On the other hand, each of them to a fault contains a different story The King of Qins palace is black, mettlesome only by splashes of red.This forms the beginning and the end of the story and the overall retrieve of this sequence extends into the first fight among Nameless and Sky. The chosen colour metaphorically represents the battle b etween estimable and evil. Red dominates the first adaptation of the story by Nameless in which he describes the calligraphy school, the round out by the Qin army, the stabbing of Broken brand and the subsequent fight between Flying Snow and Moon. The color of red brings emotion, such as love, anger, heating nd romance. It portrays the tension between lovers and their passion for revenge to the King Qin. The costumes of the characters are in red, as well as the hold. The red is a Kodak red as said by the films cinematographer. Its a much more saturated solid red. Blue becomes the colour for the second version of the story by the King himself. During the part of the story telled by the King, it evolved some fighting sequence in a lake.Since the colour of water is blue, so this section of story surrounded by blue colour with costumes and props and alike location as well as the lake. Blue also represents peace, calmness and detachment. The colour suits the King as he shows peac e in discovering Nameless true plan, which is to kill the King. The story version of the king surrounded with blue colour as well. Green is the colour for the story that Nameless doesnt necessarily know since it covers the first meeting of Broken Sword and Flying Snow and also the failed assassination attempt.Since green colour know for memories and knowledge, it used to portray the flashback image which evolve broken sword and speedy snow. Broken Sword believes that the King of Qin has the power to unite these kingdoms for the greater good of the future. White is the final colour, dominating the deaths of Flying Snow and Broken Sword and alternating with the black sequences back in the palace. this scene is achieved through mise en scene, cinematography and post-production. The characters wear white and the props are in white colour.The lighting is over exposed to highlight the white colour . The scene reflects truth of the characters intentions. Reading synopsis The Language of Film Mise en scene, cinematography, editing and sound can be combined to form a address that is used to tell stories and express meanings. Reference Abrams, Bell and Udris (2001) The Language of Film, Studying Film, London Arnold, 92-116. Emily Gems Joyful Crystals Gemstones Retrieved 15th August, 2011, from http//crystal-cure. com/black. html