Metaphor,Association And Ideology Effect

As one of the most important directors in the history of Japanese film,Ajiro Kozin has attracted more and more attention from audiences and film researchers around the world for half a century because of his outstanding artistic achievements of his film.There are a large number of articles and works involving many fields on the study of Ojin Anjiro’s films at home and abroad However,so far,no researchers have made a systematic and in-depth discussion on the scenery appearing in his films from the view of landscape research.Almost all the researchers believe that the 13 films made in his later career(1949-1962)as a director have established his artistic status in the world film history with their mature and unified artistic style and forwardness.In these 13 films,a huge number of direct landscape scenes occcupies a major part of the film.In this paper,the author does the reserch of Ajiro Kozin from the view of these films,discussing the choice of scenery in the film,the relationship between the different landscapes,the relationship between scenery and characters,events and environment,the relationship between scenery and story location/film space,and the relationship between landscape and film text and the relationship between the audience and the ideological effect of the scenery,This paper tries to find out the three important features of his film landscape of his later career:metaphorical,associative and ideological effects.Based on the definition of landscape by W.J.T Mitchell,this paper uses the basic theoretical framework of landscape research on the basis of textual analysis and lens analysis,combining with the cultural study,literary theory,ideological theory of the criticism of the three characteristics of the late Ojin film landscape in a comprehensive interpretation.From the perspective of landscape research,this paper focuses on the presentation,construction and ideological effects of the scenery in Xiaojin’s films.This paper attempts to make a reasonable explanation of the three characteristics of these images:the very recognizable ancient city scenery in the later movies of Xiaojin related to the mood state of the characters,and in the escape space of the action of the characters represented by Kyoto,Daiwa and many other places,The ancient temples,courtyard,wheat fields and other scenery show the symbol of "isolation" and the metaphorical meaning of negative confrontation.In the urban space represented by Tokyo,the gloomy and messy urban scenery of Ozu projects the anxiety of the characters’ modernity.In the scences of the rural,suburban and other places,the warmth of human feelings is projected out through bright,open scenery,and the two landscapes inside and outside the city form a clear contrast metaphor;the empty lens of Hsiao-jin shows the scenery because it weakens the narration.It makes the scenery independent of the"scene"and has the effect of "defamiliarization" and then makes the scenery become a vague crack in the process of watching the film.From this gap,the audience begins to associate and synchronously intervenes in the film,which shows the "open text" of the film.Cuting in the photographical means of constructing the scenery in Xiaojin,it reveals the effect of the ideology implied in the photography means,and then further shows the national state and imperialist ideology behind the scenic resources of Xiao Jin and the antagonism to the infiltration of western ideology after the war.