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House of Flying Daggers
The metaphor of the wind is recurring in the conversation, which Mei initiates in order to understand the intentions and feelings of Jin toward her. Jin tries to explain his feelings to her by referring to winds attributes, that wind is playful and carefree, moves around and leaves no traces and doesn’t stay in one place.
Reference to the wind once more emerges in the most dramatic moment of the film, when Leo stabs Mei lethally. Mei answers Leo’s question and says that she wanted to be free as a wind, metaphorically referring to Jin and freedom of being with him.
The symbolism for Mei and Jin, as a flower and a wind, helps to communicate the traits of the characters to the audience.
In the House of Flying Daggers there is an attempt of intimacy though in this case Mei is faced with the burden of loyalty that she has toward Leo and therefore rejects Jin by being “cold as water”. But beginning of the upcoming love between the two characters is starting from the bathing scene in both of the films.
Except for the beautiful landscapes and nature, setting in House of Flying Daggers is also one of the elements contributing to the visual aesthetics of the film. As the time frame of the film is during ancient times, Tang dynasty, every detail in the film is meticulously chosen to match the replica of the old times. The swords, the lather hand bracelets male characters wore, the pottery, the instruments played in the entertainment house and even the torture devices gave the impression of being made exactly during the ancient Tang dynasty by a handy craftsman.
The scene at the Peyony Pavillion perfectly illustrated and set the mood of ancient China. There are interiors of elaborate richness, beautiful costumes, landscapes of mountain ranges, meadows and fields of snow.
In addition to visual aesthetics of the film there are different sounds used in the movie to achieve the effect of tension, excitement and make the viewer
The metaphor of the wind is recurring in the conversation, which Mei initiates in order to understand the intentions and feelings of Jin toward her. Jin tries to explain his feelings to her by referring to winds attributes, that wind is playful and carefree, moves around and leaves no traces and doesn’t stay in one place.
Reference to the wind once more emerges in the most dramatic moment of the film, when Leo stabs Mei lethally. Mei answers Leo’s question and says that she wanted to be free as a wind, metaphorically referring to Jin and freedom of being with him.
The symbolism for Mei and Jin, as a flower and a wind, helps to communicate the traits of the characters to the audience.
In the House of Flying Daggers there is an attempt of intimacy though in this case Mei is faced with the burden of loyalty that she has toward Leo and therefore rejects Jin by being “cold as water”. But beginning of the upcoming love between the two characters is starting from the bathing scene in both of the films.
Except for the beautiful landscapes and nature, setting in House of Flying Daggers is also one of the elements contributing to the visual aesthetics of the film. As the time frame of the film is during ancient times, Tang dynasty, every detail in the film is meticulously chosen to match the replica of the old times. The swords, the lather hand bracelets male characters wore, the pottery, the instruments played in the entertainment house and even the torture devices gave the impression of being made exactly during the ancient Tang dynasty by a handy craftsman.
The scene at the Peyony Pavillion perfectly illustrated and set the mood of ancient China. There are interiors of elaborate richness, beautiful costumes, landscapes of mountain ranges, meadows and fields of snow.
In addition to visual aesthetics of the film there are different sounds used in the movie to achieve the effect of tension, excitement and make the viewer