Film Analysis: Hero

Film Analysis: Hero

“A film that cannot be described in words is not really a film.” The words of Michelangelo Antonioni are reflective of the true nature of the construction of the film. Ideally, there are many aspects of the film that are known strictly to the filmmakers and the editors. The audience, most of the time, do not know what these people have to incorporate in films for them to meet the needs of the audience. As such, many viewers fail to recognize the role of the filmmakers in the creation of a movie. Ideally, there is more to the film than meets the eye. For example, aspects of cinematography such as camera angles are also crucial in making a film. Understanding the roles of the filmmakers can be achieved through analyzing the film and taking note of the various components that contributed to the development of the film. In attempts to enhance the ability to understand the construction of the film, this paper will look into the film, Hero by Zhang Yimou Hero, a 2002 movie. Through this film, a thorough evaluation of the aspects and composition of the film can effectively enhance the understanding of the construction of the film.

Hero is known for its exclusive achievement of the aesthetic component as a result of the editing process. The editing of the films is the most significant determinant of the final outcome of the film. In other words, if the script that is written for a movie is good and the editing that is applied is terrible, this occasionally makes the film less enjoyable to the viewers. The film Hero, for instance, has gained popularity due to the creative effects that it has employed in its editing process. For example, the film employs the use of the Rashomon effect in most parts of the film to enhance its aesthetic aspect. The Rashomon effect is the term that is used to describe a situation in which the depiction of an event or a scene in a film can be interpreted in different manners. The aspects of editing in the movie has many elements to it that make the process more strenuous. According to the MILNI library, “Editing is a very labor-intensive job in movie making with a certain amount of stress with having to meet a deadline.” Additionally, the lighting of the film is enhanced by the location of the characters in the film. Ideally, these characters are placed at the center of all the asymmetrical depictions of various scenes that make the film appear more organized.

Similarly, the visual aspects of the film can be seen through the film Hero. Ideally, blocking is a common style that the editors of the film employed in the creation of the film. In most of the scenes, the editors incorporate the concepts of the depiction of one character in a different scene. This gives the audience the chance to see the character, relate to the character. Banegas argues that “Cinema, for example, is full of visual conventions. The greatness of some movie results, however, from the ability of some filmmakers to subvert the conventional meanings, leaving the way open to multiple interpretations and to critical polemic”. Through the composition of placing each character at the center of asymmetry, enhancing the composition of the film to contribute to its aesthetic aspect. Another aspect that can be seen in the composition of the film Hero is the extensive use of color to make it appealing. According to Chinese culture, color is an essential aspect since different colors bear different meanings, most of which are defined by the traditional beliefs of the nation. The use of color in the film was necessary to depict the aspects of the culture of the Chinese in the film. Even so, the color extensively contributes to the general formation of the film, considering that it is more of a visual than a thematic one.

Lighting is yet another aspect of editing that has enhanced the appearance as well as the aesthetic aspect of the film. Lighting is yet another important aspect of editing film since it determines whether the audience will enjoy watching the movie or not. Piazzolla and Gribaudo support that “the fill lighting softens the key light and its shadows and is usually less intense than the latter” (4). Most parts of the film have employed the use of key lighting that can be seen through the focus of the light on the actors. The brightness of the different scenes varies depending on the theme and the concept that the directors are analyzing in this part. As such, the lighting has made the scenes clear, and the audience can see the characters clearly. Similarly, the variation of the lighting can be seen to enhance the concept of realism in the film. Research has it that audiences wonder mostly about the relation that the film has with their society. Ideally, films that are a depiction or a reflection of the community or the events that occur in the society that has been presented. One matter that is outstanding, however, is the fact that the audience gets to connect with a character who takes the roles of the situation in which they have been either directly or indirectly. As a complement to the lighting of the film, the editors have incorporated the placement of the shapes in a manner that they are depicted in the film to present a careful staging that is appealing to the eyes of the audience. The staging of the different characters as seen in the various scenes of the film.

Hyperbole is also extensively used in the construction of the film. In most scenes of Hero, the director incorporates various scenes of the film. Forceville explains that

“Other tropes (including at least metonymy, hyperbole, symbolism, irony, antithesis), each with different functions and effects than a metaphor, may be expressed in films.” Taking an example of the scene in which the protagonist engages in a mental war in which he is fighting an opponent and the competition is stiff, the editors have effectively used exaggerations to enhance the aesthetics of the play. Taking an example of the process of fighting, the character is not only about to kill themselves but also jump so high to the point that might require a person who is exceptionally flexible and swift at the same time. The use of exaggeration in this play has made the film so likable since most people love watching films that are deemed an action movie. It is also impressive how the blades that they are using to fight cut across the other steadily without falling on the edge despite the vigor at which one blade lands on another. As much as critics have continued to argue about the extensive use of exaggerations, the directors have adequately met the needs of the target audience. Most importantly, the director of the film contributes to the creation of a film that meets the needs of the audiences.

Sound is yet another aspect of editing that enhances the flow of the film. In the scene that the protagonist is involved in the mind fight, the editors of the film incorporated aspects of dramatic sound that is enhanced through playing the piano. In this scene, the piano is used as a way of improving the concentration of the protagonist, who can only sustain the fight if he is concentrating. As dramatic music continues to play, the fight goes on. Additionally, the sound is incorporated at the instances where the blade bumps into one another, and this sound enhances the reality of the play. Ideally, it is common to hear such a sound when people are fighting using blades. In this same scene, the director has enhanced the mood of the viewers through the incorporation of background music that enhances the performance of the scene. As the fight continues, the music also continues, and this makes the performance of the scene enjoyable and more appealing to the viewers. The sound that has been added to this scene effectively contributes to the establishment of the aesthetic aspect of the film.

The use of camera shots effectively contributes to the creation of the aesthetic aspect of the film. Through the camera angles, the audience is able to connect with the characters because they get to know them on a personal level. At the running time, 0:21, the editors of the film employ the use of the close-up shot, which brings the image of the character close to the surface in a manner that the audience can not only see but also connect with. Heiderich explains that “The way it interacts with the scene dictates the way your audience feels they are interacting with the scene. How do you want your audience to feel watching a scene” (6). Through the facial expression that No name wears in this scene, it is evident that he is a warrior, and he is also a determined person. The close-up shots, most of the time, are used to show the facial expressions to the audience and, by doing so, contribute to the creation of the mood of the audience in relation to the impression that the character leaves. Different other sections of the film employ the use of the close-up shot, and through this, most of the characters are known to the audience. Another instance can be seen at the running time 0:34, where the commander who gave the go-ahead of killing the people from the hometown of the unknown warrior.  Taking a keen look at the image of the commander from the close-up shot, it is evident that the editors of the film used this camera angle to detect aspects of fear that is mixed with anger.

The editors of the film have also employed the use of the long-shot camera angle in the scene at the running time, 0:43. Ideally, the long shot is that camera angle that shows the subject of the scene, as well as the environment from which the subject is found. Heiderich explains that “Long Shot: The distance of the camera from its subject also reflects an emotional distance; the audience doesn’t get as emotionally involved in what’s going on as they would if they were closer” (7). Taking a look at this scene; for instance, the director of the film has created an environment that is meant to reinforce the construction of the film. As much as the facial expression of the character is not visible, no name is viewed as a person who is willing to take the fight at the doorstep of the enemy considering that he has crossed the desert to reach the point he is standing where he can finally see the home of the enemy. Through the longshot camera angle, the audience can see the background of the location in which the character is standing.

Mice n scene is an important aspect of the film since it creates a large part of the film. Mice n scene is all about the additional items that have been incorporated in the film to enhance its realism. Monahan enlightens that “The visual elements of mise-en-scène are all crucial to shaping our sympathy for, and understanding of, the characters shaped by them” (115). For instance, the film Hero has effectively employed the use of mice n scenes to bring out the appearance of the film as though it is something that is happening in society. For example, in the running time, 1:02, the director of the film creates an impression of a hall where two arch enemies are yet to fight, and the interaction between the two is seemingly going to be a dangerous one. The incorporation of candles in this scene is mainly intended for the development of the film to make it appear more like a place of worship. Similarly, the running time 0:47, the director has also incorporated aspects of war through the creation of armed soldiers who are matching to the battlefield with their bows and arrows at their arms. Another aspect of props that can be seen in the video is the sand dunes that have been shaped in the image of pyramids to show the plot of the film. In the running time, 0:49, these pyramids are evidently visible as the characters in the play ride their horses along with these massive pyramids.

Costumes are yet another aspect of mice n scene that the editors have used in the attempt to meet the requirements of the Chinese culture.  Most of the people in the film Hero are putting on a significant cloth that makes the person stand out, especially in the midst of people. According to Oscars, “When costumes are purchased or rented for a film, they must be altered to fit each actor” (4).  For example, no name is dressing in a black swordsman costume that reflects so much about his personality as well as his quest for revenge.   The scene in the place of worship where no name invites his worst enemy to fight is reflective of the costumes that these people are wearing.  As much as this may appear as a normal dressing for the Chinese people, it is a manner through which the directors find a bridge between the characters and the audience of the film.  Most of the audience of the Chinese culture prefers to watch something that makes them feel at home, and this can only be done in the film through the aspect of costumes.  Embry points out that “the degree of clothing satisfaction subjects had for their outfits correlates to their self-perceptions of sociability, emotional stability, and dominance; the study also suggests that clothing can be used to enhance a sense of security” (17). The manner in which the people dree in a film is reflective of their personalities as well as their culture. Ideally, a person is likely to learn the most effective way of learning a person’s identity through the dressing that the person has worn.

Furthermore, the cinematography for the film is enhanced by the various features that enhance the quality of the transitions and the types that enhance the creation of the film’s aesthetics. For instance, most of the scenes in the film are introduced through a collapsing transition that allows the introduction of a new scene in the film. Through this collapsing, the viewer can effectively know where the first scene begins and where it ends, making it one of the most basic ways of learning the introduction of a scene and where it ends. Through the incorporation of the film transitions, the flow of the movie is enhanced since a viewer can easily understand the flow of the different scenes. Camera movement is yet another aspect of the film that is used in the film to enhance the flow. Oscars explains that “in a distant location or in an imaginary time and place, costume designers collaborate with the director, the cinematographer and the production designer to tell the story”(1).In the film Hero, for that matter, most of the editing encompasses the use of slow-motion captioning to enhance the aesthetic that is achieved to make the appearance of the movie more interesting to the eye of the viewer.

Furthermore, the camera angles that were used to make this caption was mainly made up of the zooming in action camera caption that was able to capture the action of the various events in the slow-motion context. Heiderich explains, “Knowing what kinds of information these shots give your audience, think about how each of them fit together to compose your scene” (10). It is important that an editor understands the meaning of the shots concerning the shots that are used when capturing the images that are effective in the aspects that are impressive to the audience of the film. As much as many critics feel that it is an aspect of an exaggeration, it is important to note that this concept contributed mostly to the formation of the film and the building of its aesthetic value. The editors of the film enhance the creation of the film by incorporating these aspects. In the mind fight, for instance, the director employee the use of the slow-motion technique to capture the fight, and the clarity of the camera is impressive, considering that the scene is capturing all details, including the water drops that are seen when the two fight.

Conclusively, the analysis of a film is dependent on the aspects that are included in the film by the filmmakers and the contribution of these things in meeting the needs of the audience. The film Hero has been used to effectively show the aspects of the film. The film has effectively employed the use of mice n scenes that aid in the development of the film’s aesthetics as well as the reinforcement of the narrative and the themes that the director tries to incorporate in the film. Additionally, the director of the film addresses the aspects of costumes that reinforce the construction of the characters as well as the reinforcement of the themes. Additionally, the use of the camera shots in the film contributes to the visibility and clarity of the image that is depicted by the film as much as the camera shots are effective in connecting the audience to the characters of the film.  Close up short, for instance, is used to bring the image close to the surface and, by doing so, the audience the chance to see the facial expression of the character. The film has also employed the use of the sound to enhance the reality of the film. Ideally, when watching the film with the sounds incorporated, the readers of the article can understand the meaning of the film, and they can also relate it to the world in which they dwell.

Works Cited

MILNE Library. “7. What Is Editing? – Exploring Movie Construction and Production.” Milne Publishing – Publishing at Milne Library SUNY Geneseo, 11 July 2017, milnepublishing.geneseo.edu/exploring-movie-construction-and-production/chapter/7-what-is-editing/. Accessed 9 Mar. 2020.

Pietro Piazzolla, Pietro Piazzolla, and Marco Gribaudo. “Teaching The Aesthetic Of Lighting In Cinema”. 2008, doi:DOI: 10.13140/2.1.3710.1122. Accessed 8 Mar 2020.

Barsam, Richard M., and Dave Monahan. Looking at Movies: An Introduction to Film. W W Norton & Company, 2012.