Roy Andersson Directed The Research

As a Swedish national treasure art film director,Roy Andersson has always been known for low yield and high quality.His unique surrealism style and consistent black humor,in the tragic interpretation of the absurd sense of life.In his works,there is no coherent dramatic plot as in traditional films,but more focus on the fragmentation of life.Storytelling is not his goal.For him,film is a way of writing,such as poetry and painting,through which the audience can re-examine their own existence through images and the sense of time pressure generated by them.The film’s unique combination of fixed long shots and depth of field pictures combined with highly stylized set design produced an eclectic image rhetoric.His unique keen eye helped him to become a gifted director who was born in the theater but specialized in film.In 2014,the world’s attention was focused on the director,who was surprised to win the Golden Lion when his film "The Quiet Bird on the Cold Branch" debuted in Venice.Then came the growing attention on Roy Andersson.Therefore,Roy Andersson is the most worthy art director to be explored among modern and contemporary European directors.This paper is divided into five parts,through the in-depth excavation of Andersson’s works,summarizes his unique directing style,horizontally explores the deep impression of modern art in his works,and vertically observes Andersson’s position in the world film.The first part mainly reviews the creation process of the director,from the initial contact with film production to the development of the bizarre surrealism style in the later period,which has experienced a long period of unremitting exploration;The second part focuses on the theme of Andersson’s films--"Image Theme: Philosophical Exploration of human existence",and discusses the multi-level expression of existential philosophy thought in Andersson’s works.The third part is back to Andersson’s distinctive image rhetoric,the combination of fixed long shots,depth of field and panoramic pictures,which shows not only the film tradition but also many modern art figures;The fourth part discusses his signature surrealist narrative,starting with plot structure,narrative time and space, character conceptualization and black narrative style,which together constitute the absurd and eternal Anderson movie world.The fifth part is to place Andersson in the coordinates of modern film,and discuss his impressive teacher-student relationship with Ingmar Bergman,the profound Bu(?)uel’s mark in the director’s works,and the profound influence of the independent director Geng Jun across the national border in northeast China.