![]() ![]() The audience can see the neighborhoods of the city, gray, covered, and gloomy. ![]() The filmmaker shows an undeniable contrast between the red lanterns and the dusty black covers that are put on them-the scene builds up faster when the lanterns are covered and suddenly stops. ![]() When the lanterns were covered in Songlian, there was a clear depiction of her longing, which demonstrated itself in the rapid change of seasons and costumes. He also highlights the shame of disobeying the red-light ‘law.’ For example, when one of the women was caught in a lie, her lanterns were defined as covered (Raise the Red Lantern). The director shows this through the tension that is created between them as they compete with each other to become mistresses. On the one hand, the inflamed light grants some control and more respect from the servants of the house, such as the ability to choose meals and foot massages.Īlthough this power is slight, and one can investigate the dependence of the wives on the color of the lights. The basic rule or concept is that if the red lights are inflamed in the women’s rooms, the Master will consume the night with them. The producer constantly focuses on them directly through the camera and the characters’ reactions and feelings toward them (Raise the Red Lantern). At the same time, the music becomes dynamic and pitiful through the farewell, and their faces show sadness.įurthermore, throughout the film, the significance of the red lights is emphasized, as they are the leading element and setting of the storyline. During the meeting of the younger Master and the fourth wife, the sounds of the flute are present, which emphasizes the good-naturedness of the conversations. That said, all the scenes are also imbued with a sad and quiet aura (Raise the Red Lantern). However, she is forced to do undesired things that she cannot contradict in marriage. It is essential to remark that the heroine’s face is motionless throughout the film, her emotions constrained. The scene where she sits on the bed in the room can be considered the initial illustration of the problem of loneliness. This concept is present even in the beginning, where Songlian talks to someone whose face is not visible. The director skillfully manages a clear focus on the problem of Songlian’s isolation in the way that the camera is almost always brought to the protagonist. Songlian’s loneliness is constantly in the spotlight, especially at the beginning of the film, when she has married. For example, at first, the woman does not wish for light during intimacy with the Master and does not recognize the significance of the lanterns, but later she daydreams of the red color. However, the main accents are the focus on the fourth wife, her special image in various scenes, the slow introduction to the central storyline, and the weight of the red lights. This appeared as a symbol of her dishonesty (Raise the Red Lantern). At the same time, she was active and friendly at first sight. In contrast, the second wife’s apartment was spacious and bright. For example, the first wife’s room was smoky and semi-dark, signifying that she was trying to separate from life in the harem and find peace. Moreover, the flawed relationships between people living under the same roof are highlighted through specific methods. At the opening of the story and toward its end, artistic techniques are applied to emphasize loneliness, mysterious anguish, and experience in a mental house. ![]()
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