Ok, everyone is talking about how pretty Pursuit of Jade is but can we take a moment to talk about how layered its visual storytelling is? Director Zeng Qingjie is doing a really good job using cinematography and mise-en-scรจne to establish the implicit class/power dynamics that will probably drive the romantic conflict between the main characters.
Despite their massive difference in status, Xie Zheng has found himself easily embedded in Fan Changyu's world. As @background-character-341 astutely describes:
"So so obsessed with the ways that Xie Zheng finds to insert himself within the already established dynamics of Fan Changyu's family and her life. It's the care and affection he shows for Changning...It's the interest he takes in her job, reassuring her that is doesn't scare or disgust him...It's the way the narrative constantly mirrors them, making Xie Zheng take his cues from her."
But not only has he inserted himself in her life, he's also anchored hers by providing a protective barrier that insulates her from and has mended the strained relationship she has with her neighbors. Hilariously, it's his good looks and pretty calligraphy--him as an individual--not his title and military prowess that does the job.
And we see that echoed in the evolution of the village's set design and actors' blocking.
Think back to earlier episodes whenever Granny Kang or Madam Song would harass Changyu and the neighbors would stay at the perimeter of the property observing but not seriously intervening. There was a literal barrier they never crossed because of her reputation. Now we see the adults (and all the children that originally would only peak in!) celebrating in the yard, the scene composed around him fulfilling husband duties.
And of course we can't ignore how the director frames and lights Changyu and Xie Zheng's scenes together.
The lighting is soft and warm, the frame often including the two of them plus Changning and her aunt and uncle. โ The use of medium and close-up shots for their relationship's camera language visually binds them together. They are a family unit--at least within the confines of Changyu's humble home.
The contrast with the capital is stark.
The immediate cut from Xie Zheng's lovely new year celebration with Changyu to the princess' at the palace made me laugh. Look at those moodier, colder colors and all the harsh leading lines, the composition placing a guard in the foreground. This is a completely different world for the elites, one that is calculating, high stakes, and promises violence.
It makes sense that Xie Zheng would do anything in his power to delay having to return to this because despite the respite Changyu's home provides he's fundamentally still one of them without her in the frame. When acting in his Marquis role, he too is filmed in darkness or shadow, the use of low-key lighting giving him a just as suspicious, ruthless air.
This is nothing like the drama's aforementioned visual language for Changyu--she doesn't belong in these scenes and therefore doesn't belong in Xie Zheng's world. There is no place for her kind, straightforward sincerity and the little community she cares for are pawns in the greater political environment.
Prediction: While he might resist because village life as a matrilocal scholar with his butcher wife was the one time he could escape the pain and violence of this world, I'm guessing she will be the one to sever their relationship once she learns of his real identity.
When they "break up", the drama's visual language will transform her beautifully lit scenes to something that more resembles his.
janainaart
areudirty
andulkaphoto
kianamaiart
pixelskylines
yousharknotpass
gummygunk
romaincrisis
