Curse+of+the+Golden+Flower

Many of Zhang Yi Mou's films have intricate fight scenes that are created using a variety of techniques. These techniques include slow-motion, which is used to show the moments with the highest tension in more detail. Along with the slow-motion shots, there are also loud, obvious, and sharp sound effects throughout the fight scenes. For example, sword sounds in Curse and in Hero are both startlingly loud to the point that it's obvious that the sounds are being exaggerated. There are also a variety of shots from numerous angles that are edited together within these sequences, which break from Zhang Yi Mou's usual still shots. This emphasizes the performance aspect of the fights and add to the complexity of his films.
 * 1. Intricate Fight Scenes**

Zhang Yi Mou often places a major and obvious symbol throughout the film. In Raise the Red Lantern, the major symbol was the red lantern, and in Hero, the major symbol was the word for sword. In Curse of the Golden Flower, the major symbol is the chrysanthemum. Zhang utilizes this as a constant symbol for the theme of the intricacy of betrayal and its consequences. It is present throughout the movie on props, and is blatantly stated in the title (similar to Raise the Red Lantern).
 * 2. Major Symbols**

One of the aspects that Zhang Yi Mou's films are most known for are their rich use of color. Similar to his other films, Curse of the Golden Flower uses very saturated colors throughout the film. As a result, he uses the colors as themes and symbols for the film. He is able to also communicate emotions through the use of color. The main color schemes of Curse of the Golden Flower are yellow and red, which are often thought of as colors belonging to royalty.
 * 3. Color**

Zhang Yi Mou dedicates an epic amount of attention to detail. This is evidenced through the choreography of his films, especially Curse of the Golden Flower, which is one of the largest movies ever. By choreography, I do not mean dancing. Instead, I am referring to the detailed choreography for the film's extras. All the actions of the numerous servants, the fights between the emperor and empress's huge armies, and the fight scenes had to be choreographed carefully. The choreography is also notable in Hero, in which there are also servants and a huge army. If the choreography had not been perfected, the entire movie would look very unorganized and unprofessional.
 * 4. Choreography**

The sound of Curse of the Golden Flower is similar to the sound for Raise the Red Lantern and Hero. He again uses instrumentals such as percussions in order to heighten the intensity within certain scenes. The sounds are very traditional and "evocative of the period," as evidenced by the use of traditional instruments within the score of the films. Zhang often chooses to have dramatic scores play in the background of epic scenes in order to increase the tension within the scenes and build up the audience's anticipation. Other than those sounds, most scenes often have little to no background music, with the dialogue and certain sound effects being emphasized clearly. Everything sounds clear and crisp, and the scenes with dialogue and the scenes without have distinct separations.
 * 5. Sound**

The sets for Zhang Yi Mou's films are always extremely decorated and have intricate details. This is no different in Curse of the Golden Flower, for which Zhang reused his enormous palace set from Hero. The sets are exquisitely designed to reflect the time period, and numerous props are found within the scenes. Zhang often has the details of the sets revealed by using long, establishing shots to show the entirety of the set.
 * 6. Set**

Zhang Yi Mou films usually have numerous sub themes, and a popular sub theme of his is a conflict between a man and a man. This conflict is usually between a father and his son, as seen in Raise the Red Lantern and Curse of the Golden Flower. The conflict is always caused by the father's wife, who happens to much closer to her step-son's age, wanting to have or having an illicit affair with her step-son. There is tension between the father and the son and results in problems for the trio. In Curse of the Golden Flower, Phoenix (the empress) has been having an affair for three years with her step-son Prince Wan, and this causes problems with the Emperor.
 * 7. Plot (Man vs. Man)**

Another common sub theme is the constrained woman. The constrained woman, as seen in Hero, RRL, and CGF, is usually powerless or unable to accomplish a certain task. Her inability to accomplish the task causes her to slowly become obsessed with the task. In Hero, this was seen with the female warrior wanting to kill Qin Shi Huang Di, and in RRL, this was seen with Songlian wanting to stay true to herself while finding out the truth about her new living conditions. In Curse of the Golden Flower, the empress is obsessed with golden chrysanthemums and with her step-son (who has seemingly moved on), and these two obsessions lead to her major obsession of wanting to take down the emperor. It is also noticeable that there is usually one leading woman that has power over another woman, which in RRL was Songlian and her servant, and in CGF is Phoenix (the empress) and Jiang Shi.
 * 8. Theme (Constrained woman)**

Zhang Yi Mou's films are notable for the beautiful cinematography. Some of his most repeated shots are panoramic shots and close-ups. Panoramic shots are often used to show the intricate setting of his movies or other painstaking details of his films. These are used within Hero, RRL, and CGF. Another one of his most repeated shots are his close-ups, in which the actor is usually framed directly in the center, allowing the actor to have complete command over the scene. The audience is drawn to the emotion of the actor and is able to realize the importance of the scene.
 * 9. Shot Types**

His films often begin with the title of the film written in traditional, Chinese calligraphy. This is seen in movies such as Raise the Red Lantern, Hero, and Curse of the Golden Flower. For the ending credits, a song with a wistful tone plays in the background of the credits, which is something also heard in Hero. Together, these emphasize the themes of Zhang Yi Mou's films and highlights the traditional aspects of his films.
 * 10. Beginning and ending of film (Title and Credits)**