La leggenda del pianista sull'oceano: the Reason He Stay at Sea

nbsp;When the Nineteen Zero slowly walked down the ramp of the Virginian luxury cruise from the deck, the photographer has not lengthened slowly the depth of field from near and far, which is just like the mode and approach of processing of some other similar lens, but he lets the back figure of Nineteen Zero who is as a principal subject, with the huge Virginian luxury cruise to be as the background, become smaller and smaller, which is a real small. The photographer has chosen another mode and approach of processing, which is an almost unprecedented approach. That is that when the Nineteen Zero went down the ramp step by step with so suffering, the lens with the same slow and solemn moving from far to near, and finally gradually freeze on one focal point, then what we can see is the heavy footsteps of the Nineteen Zero shot from the special angle behind the ramp, as well as the numerous, complicated and messy city through the gap of the ramp and the feet of the Nineteen Zero all presented to the viewers. Then, we can see from the eyes of the Nineteen Zero a different kind of city – to show off its impetuous by making threatening gestures like a beast of prey with the claws and shouting, so complacently stretching of the row upon row of buildings and chimneys.
Very special technique of expression, when the movie to be the end, at the moment that Max asked why the Nineteen Zero did not want to leave the Virginian luxury cruise, we can understand the answer of Nineteen Zero. The key of the real world is too large, not suitable for the pure music to be created; the city in the real world is too huge, not suitable for the pure persons to be born in.

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