After the confrontation with several teenagers in the grassland, with the development of the plot, the light dimmed again, which was the billiard room and ballroom, and then the bright day of the small four families. In short, the director uses the darkness and brightness of light to control the emotions and psychology of the audience, making the film relaxed and quiet, and suppressing the turbulent undercurrent. Shooting angle directors rarely use close-ups. There should be no close-up of this part of my analysis (if there is, please point it out). On the contrary, the director used a lot of intermediate scenes, which reflected the characters' weakness, loneliness, confusion, vacillation and fragility.

? At the beginning of the film, my father is sitting in the teaching room, and the lens is taken from the door. Father's figure is very small, and his voice seems to cover the whole body. The first time I took a photo of the fourth family, it was also a middle shot. The wall in the dark occupies half the screen, and my fourth one has dinner in half the room with the light on. The narrow space gives people a sense of oppression. The scene of the whole family eating was also taken from the living room to the restaurant. Almost everyone can't see his face clearly, only his mother's voice can be heard. At parties, buses and grasslands, directors try to avoid close-ups of people's faces, and always look at the people in the camera calmly as bystanders, so that the audience can't feel the detailed expressions of the people and it is difficult to figure out their psychology.

It's just that this sense of oppression has always existed. The director used the central axis to shoot the scene of the students' class, and the picture was very steady and not easy at all. He also tried to shoot from the perspective of students' head-up, so that the audience and students could get in close contact and have a sense of closeness. The only prospect in this content appears in the part where Xiao Si and Xiaoming are in the grassland. From the shooting point of view, the broad vision and unobstructed grassland scenery also created a good atmosphere for them to get along with each other. The vision has been shot many times, and it is precious in the film, which is also the director's intention. Dialects and discourse films are characterized by dialects, and the mixture of dialects from all over the mainland concentrates most of China, which reflects the regional diversity and complex psychology of people in Taiwan Province Province. The instructor said, "Taichung reminds me of Hankou." Xiao Si's mother said, "I fought with the Japanese for eight years, and now I live in a Japanese house and listen to Japanese songs." Wang Gou talks about American high-rise buildings in Shanghainese: "This is true." From these words, we can deeply feel that the director wants to show not only the story of the fourth grade, but also the story of a generation, two generations, a Taiwan Province province and a special era. From these nuances, we naturally marvel at the director's proper scheduling of the scene.