It was a black and white time, not just in the memory of survivors, but in the memory of millions of peace-loving people around the world. Director Spielberg uses the language of his lens to tell a heart-warming story in a brutal context, with black and white tones that transport the filmmaker into a hellish world, the lowly lives at the feet of the Nazis, the mountains of corpses... The end of the film returns to color tones, and the clear sky seems to tell people that everything is over and life will have a new beginning.
(1) In the candlestick, a candle is exhausted, the flame is gradually extinguished, and finally turns into a wisp of green smoke. The candlestick is placed in a central position, using a small depth of field, highlighting the main body, and the environment is blurred. The ingenious composition contains a metaphor that the Jews are like this candle flame, fragile, and gradually extinguished in the dark background...
(2) This shot is arranged very interestingly, first of all, the two people are symmetrically distributed left and right, but because Schindler is sitting and Ston is standing, it will give people a sense of inclination, which shows their status at that time, and further shows the hierarchical relationship between the Jewish nation and the German nation, at this time, although there is also a superior and subordinate relationship, it is already irrelevant in the context. Second, Stern is in total darkness behind him, and there is a left light on Schindler's side, showing Sten's ambivalence at this moment, that is, he is a Jew, hoping to preserve his national dignity but having to join the German factory to fight for his life. Third, the lens uses perspective techniques to make people visually have a sense of spatial depth, condescending to see the Jews busy working in the factory, and explain the relationship between Schindler, Stun and Jewish workers.
(3) In the snow and ice, the woman who is about to be shot falls on the snow, next to the German soldier who is about to pull out a pistol, and the woman is arranged in the lower right corner of the camera, the long-range view, expressing the helplessness, powerlessness and despair of the Jews. And there is a deliberate arrangement of details in this shot that makes the viewer's heart vivid, and the close-up view on the left side, a Jew drinking hot water, highlights the smallness and sadness of the Jew at this moment.
(4) This film uses close-ups in many places, and these two close-ups may be able to summarize the state of all the persecuted Jews, the first close-up, the little boy's face is half dark and half bright, the expression is terrified, located in the center, such a position further magnifies his fearful look, and the side sets off the cruelty of the Nazis. The second close-up is of an old woman who has just taken poison, smiling and serene. White sheets, faint sunlight shines brighter, and in black and white films, white is the culmination of holiness and hope. I think what the director wants to create is such a Jewish image—the calm, serene, the person closest to heaven.
(5) This is the highlight of the film, when the Jews are expelled and shoved, when the streets are crowded and noisy, a little girl dressed in red accompanied by soft children's songs walks on the streets without encountering any obstacles, like a ghost. Finally, she hid in a small space, and at this time, her expression was diametrically opposite to everyone else's, and she was smiling. A touch of red appears in the supposedly black-and-white part of the film, which is unexpected, and people's eyes follow the fun center of the little girl, and eventually fall into contemplation. What does the little girl surrounded by darkness in the center of the picture represent, the little girl who smiles with her eyes wide open and her ears blocked? I think that perhaps there is still a little hope left in the hearts of the Jews in the most difficult times.
(6) The use of the great vision and the large depth of field highlights the smallness of the Jews. Placing the German officer in the lower left corner of the picture, although the proportion of the geometric area is small, but because he holds the sniper rifle in his hand, the picture is as if it is in his hands, so that he has a strong sense of control.
(7) In this shot, we see the German officer in the mirror, but this composition method has an alternative impact, and the strong panic shown by the little boy who occupies most of the geometric area is more prominent, and the deterrent and control of the German officer in the mirror has a sense of expansion. At the same time, this shooting angle breaks through the limitation that two people facing each other at the same time must use side shooting, and the frontal shooting performance is more powerful.
(8) In the picture, the German sergeant is in the center of the picture, talking and laughing, and they are surrounded by Jewish men and women who have lost their dignity and run naked, showing the cold-blooded and perverted side of the German Nazis with a strong contrast.
(9) Jewish women are herded into the "gas chambers," where concentrated compositions are used, and unknown near-death fears spread among naked people. Through concentrated composition, the deepest humanity is excavated and exposed.
(10) The camera breaks the perspective of the ordinary horizon dividing heaven and earth in half, but the sky occupies two-thirds of the picture, and the large vista shows the Jews who have regained their freedom under the vast sky. It conveys a signal of freedom and a yearning for a new life.
Text/Film Life
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