Современные гуманитарные исследования, № 4, 2013 Искусствоведение Кино-, теле- и другие экранные искусства Cheng Cheng, graduate student of Graduate school of Shaan Xi Normal University (China) THE EFFECTION OF PHOTOGRAPHY TAKE «IN BRUGES» AND «FRIDA» FOR EXAMPLES The photographic techniques in the films of Frida and In Bruges convey special meaning in a subliminal way. <...> The deep-focus shots, telephoto lenses, focus-shifting shots, close-up shots, angle, light and color in the two films are taken for examples. <...> In the summary, the photography of In Bruges has a close association with the tempo of the story, and the effection of angles and light in Frida reveals the changeable relationship of the protagonists. <...> The photographic techniques in the films convey special meaning in a subliminal way. <...> The lenses in In Bruges have a close association with the tempo of the story, otherwise the angles and light used in Frida reveals the changes of relationship of the protagonists. <...> The focus of lenses in In Bruges is close associated with the tempo of plots. <...> The photography uses a sequence of wide-angle and deep-focus lenses involving the protagonists and the beautiful local scenery when the tempo is peaceful and relaxing. <...> For examples, the deep-focus shots are often used in Frida to show the local culture of Mexico. <...> When Frida (Salma Hayek) and Diego (Alfred 110 Современные гуманитарные исследования, № 4, 2013 Molina) fall in love, the long time shot of them rambling in local market is a deep- focus shot. <...> In the film of In Bruges, when Ken (Brendan Gleeson) is looking around for his reserved inn, his partiner Ray(Colin Farrel) grumbles the words “shit hole”. <...> The images are photographed in three depth planes: the unhappy face of Ray is nearest, Ken with raillery smile is in the middle, and the building, river and tree are farthest. <...> Deep-focus shot may distract viewers’ attention, but telephoto lens can dominate the acting that always conveys important information. <...> And then the photography uses telephoto lenses to filter unimportant surrounding behind him to dominate his acting. <...> When Ray and Ken sit at an open air bar talking about why their high-strung employer Harry Waters (Ralph Fiennes) wants them stay in Bruges. <...> The same technique is also used when <...>