Part. 1 Jane Eyre in the backlight
Except for the abundant light above the large black area, all the light in the film uses scattered light, and there is no clear main light source. It was not until the impressionism in the middle and late19th century appeared in the history of art that western painting or western visual art took light directly as its expression object for the first time. Prior to this, except for religious paintings with 45 holy lights, other paintings had no clear light source. /kloc-the scattered light in the 0/9th century is mainly scattered light from the floor, which is a great adventure, because in this case, the figure light becomes a footlight-similar to a flashlight under the chin. In Jane Eyre, light plays an important role in awakening the sense of history, which is embodied in the lighting of the sun scene and night scene: night scene: the main light source is scattered light+wall lamp and ceiling lamp with balanced scattered light = the lower half of the face is brighter and has the texture of oil painting; Daytime scene: Backlight (corresponding to the night scene to ensure the consistency of modeling scores)+Backlight shooting &; Try to avoid glare, which will make the picture full of light and fog = the plane feeling of the picture is strengthened, and there is a feeling of gouache.
The second part of the lens
First of all, when dealing with the scenes of dialogue between characters, most movies will adopt the classic Hollywood three-shot method: a complete set of scenes, a given space environment, a two-person middle scene, a description of the relationship between characters and a cut scene. Secondly, in the focal plane, sharing the picture space means sharing the spiritual space, which shortens the spiritual distance. Jane Eyre combines the above two points, but also has a unique film language. Its typical performance is the use of a large number of depth-of-field lenses, through a large number of shallow focus to express the relationship between characters. The following is an analysis of several shots.
When Jane Eyre and Rochester are sitting in front of the fireplace, they are strangers to each other, so this kind of conversation adopts the way of single person (front and back) in the middle scene. When Rochester proposed to the upper-class guests, their photos were separated again, which also corresponds to the separation of emotion and social class. What's more interesting is that the director uses a shallow lens, starting with a close-up of Jane Eyre's back, with a dull shake along Jane Eyre's neck, and then using the virtual and real focus to show the presence and absence (Jane Eyre is vague in the living room in front of Jane Eyre, and Jane Eyre and the living room in front of the guests are also vague in showing her position). True love shot: the middle shot of two people, which is used by most art films to express lovers who love each other. In Jane Eyre, it is found that this is an derailed marriage. When she faced Rochester's wife, she changed from the middle scene of two people to Rochester's fainting, indicating that he began to become confused in Jane Eyre's heart. When two people say goodbye: a closed and stable composition/parallel composition expresses that although they say goodbye, they still contain love.
Part.3 the picture frame in the picture frame
Usually, cameras shoot through windows, doors and mirrors, just like important signs of movies. Jane Eyre is a person who seldom looks in the mirror. There is almost no picture of Jane Eyre taking care of herself in the mirror, only one scene-marrying Rochester in a wedding dress. Besides, although Jane Eyre knew all this was a scam, she took off her wedding dress in front of the mirror and didn't look in the mirror. When getting married: Jane Eyre looks in the mirror, Jane Eyre in the mirror, Jane Eyre in reality, Jane Eyre reflected in a portrait in the corridor. This mapping shows that all this is just an illusion-this happy bride is an illusion.