Although black and white film is used to express the cruelty and to dilute the violence, the charm of the lens is not diminished at all.
Often split 2 to 3 scenes and edit them using contrast and cross-cutting methods. The connection of the scene is very natural, such as: the candle smoke from the Jewish prayer at the beginning immediately receives the smoke from the locomotive; the most classic is: Schindler enjoys the performance of the female singer at the party---Gase molested Helen in the cellar---one The Jewish youth were married in a concentration camp. The atmosphere and themes of these three sections are all different, but a few key shots are connected together to form a strong contrast.
Shooting from various angles is in place; the tracking lens highlights the tension and immersiveness: for example, the Holocaust starts from the back of the Nazis; the back of the female Jews in the Auschwitz bathroom are dazzled and feared. Bottom view: the perspective of the Nazis throwing luggage down in the ghetto like raining; Auschwitz’s horrible chimney emits heavy smoke. Long shot: At night of the massacre, instead of filming the killing, the camera was cleverly placed on a high ground in the distance, and only the fire from the machine gun shot from each window was shot. Widespread use of close-ups: On the day of the Holocaust, Stan almost forgot to bring his ID. The fierce Nazi roars echoed with Stan's panic expression close-ups. When the body of the Jews was burned, a German officer yelled fiercely and shot at the body. In order to escape the bad luck of going to Auschwitz, the children in the concentration camp showed fearful close-ups on their faces when they jumped into the cesspit. There are also two scenes, the most classic girl in red, fleeing and appearing in the corpse truck, when Schindler's face instantly collapsed.
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