From the first shot of the film, in which the tires of a speeding car rumble, the sound in "Blue" is associated with a circle. Circles appear not only directly in Antoine's small ball game and Anna's beach ball, but also indirectly in the music score rolled up in the transcriber's office: the camera shoots Julie from behind a pile of rolled up music scores, creating a series of iris effects that isolate the characters. Later, Julie appears in the coffee shop, and from her point of view, we see the circular coffee cup in the fading light; this image visually echoes the circular pattern in the coffee shop when Julie looks at herself from the spoon later. Later, as she searches for Sandrina, a lawyer, we see her through the circular windows of the courthouse. However, the most interesting round object in her life should be the necklace that Antoine found at the scene of the accident and later returned to her. When Julie and Antoine meet, the zoom lens draws the audience's attention away from the ring-shaped necklace with the golden cross dangling below, and even though it was a gift from Patrice,
cosmetic packaging wholesale, she insisted on leaving it to Antoine. Verse 43: Tricolor: Blue (5) Julie wants to forget the past and move on, and in a film like this, the recurring circular pattern is very appropriate, because she is finally brought back to the past she tried to forget. The blue splashes in the swimming pool, accompanied by a soundtrack,
Uv Gel Nail Polish Bottle, show the reappearance of something that had been suppressed-something that Julie had to face sooner or later-whether it was a sad past or a need for others. From the beginning of the film, when candy wrappers stick out of the car window, blue is closely associated with her daughter. Later, Julie found an identical lollipop in her bag. She chewed the candy vigorously and her expression was frightening. She chose to eat it rather than throw it away, which seems to imply some kind of sacrament. Later, she asked if the "blue room" had been emptied: in fact, it was her daughter's room, and all that was left was the chandelier on the ceiling. A round chandelier with blue and white glass beads: Julie tried to remove the lamp, but only managed to grab a few beads. As she sits on the stairs, light from an unknown source flickers on her face; we find that the reflection comes from the beads she holds in her hand. She left for Paris with the chandelier as the only thing she had with her,
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Cosmetic Packaging Wholesale, a symbol of her daughter, and then once again reflected the sunlight into Julie's apartment in her face. Later, the reflection appeared again, which was even more unforgettable. Julie was accidentally locked out of the door in the middle of the night. She could only sit on the stairs and wait silently. At this time, the blue light appeared in her closed eyes. At the end of the film, she decides to look for Olivier, and we see Julie again in the blue light reflected from the chandelier. Pictures like this are beautiful and painful, and the teardrop glass bead is an object that is closely related to memory. The blue color permeates the whole film in many ways. Include blue patterns, such as when she came to Paris wearing "black and blue"-blue jeans, a black jacket, a black T-shirt, or the blue ink with which she composed. The transcriber noticed that there were many changes in the unfinished score: in fact, these were "blue" marks made by Julie, and the round marks visually echoed the glass beads on the chandelier. Julie often swims alone, and we can also see the director's metaphorical use of blue in the huge swimming pool: the calm blue water initially symbolizes escape for her, but then she stops suddenly twice in the pool, and she is enveloped by the loud music of her husband's legacy. With the darkness before her eyes, the swimming pool symbolizes her unfinished grief, which can only be used as a physical vent, but can not help her fight against the sense of loss emotionally. Visually, it's easy to associate a swimming pool with a TV screen, which is also a blue plane that can be used to escape or reflect grief. The first TV set in the film appears at the bedside of Julie's ward, through which she sees the funeral of her husband and daughter.
In the close-up, she strokes the screen with her hand, and the coffin in the TV looks smaller than her fingers.
www.xiaoshuotxt.com Part III Tricolor: Blue (6) Small? Say ? txt? Paradise Verse 44: Tricolor: Blue (6) Her mother doesn't want to leave the TV, which is brighter by comparison, perhaps because she watches "escapist" programs: when Julie visits her, the TV shows an old man bungee jumping (Julie's miniature TV also shows a bungee jumping scene before the funeral, echoing the two); He jumped down with a rope tied to his leg, and when he reached the lowest point, he rebounded as if defying the gravity of the earth. Perhaps the reason for choosing this modern sport is that Kieslowski values its cyclical and elastic nature, which indicates that Julie's life will eventually return to normal. The next time she visited her mother,
Plastic Spray Bottles Wholesale, her TV showed her walking on a high wire, and the dangerous images on the TV coexisted with the "safe" space around her: every time Julie approached her, we would see that her mother was framed like a window. Perhaps she is also escaping something of the past: the first conversation between mother and daughter — she calls her daughter Marie-France — reveals that her mother's sister is dead. Is that why Julie's mother lost her memory? Both generations seem to be running away from the pain of the death of a close family member by isolating themselves.
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