观微电影《远在天边》有感

观微电影《远在天边》有感（通用4篇）

篇1：观微电影《远在天边》有感

观微电影《陪伴》有感

电视屏幕中闪现着一幅幅感人的画面，那就是微电影《陪伴》里面所讲述的故事。

镜头中爸爸正抱着出生不久的女儿，细心地照料着，并且对女儿深情的说着：宝贝，我会一辈子保护你！慢慢地孩子长大了，跟爸爸之间的沟通少了，直到女儿包里的一盒烟的出现，彼此产生了误会，深爱女儿的爸爸伸手打了女儿，女儿跑出了家门。焦急万分的父亲到处寻找女儿，最后终于找到了女儿，消除了误会，深深地抱在了一起，彼此感受着亲情，彼此珍惜着家人之间的温暖。

看到这一幕，我的眼前也呈现出了很多的画面，微电影中那双眼睛跟我的爸爸妈妈一模一样，当我生病时，当我碰到困难时，当我考试考砸的时候„„那双眼睛里充满着关心和急切。甚至比他们自己碰到难题还要着急。

对于电影中那位女儿所受到的爱，我要比她更幸福，因为我受到的爱更多。外婆会精心地给我准备早餐，做我爱吃的可口饭菜；爸爸妈妈总会给我准备我所需要的东西，无论是学习上还是生活中用的，有时候他们出差了，还能收到他们送的礼物，那时候，看着我兴高采烈的样子，他们的脸上也挂着灿烂的笑容。

曾经对于妈妈，也有过抵触的时候，对于她的叮嘱，我会觉得烦，觉得唠叨，细细想来才知道，我在妈妈所谓的“唠叨”中，已经不知不觉改正了很多缺点，在妈妈所谓的“唠叨”中，那盒子里的奖状和获奖证书，正越来越多，越来越厚，正是有了妈妈“唠叨”的一路陪伴，我才一路幸福的走来。

看了微电影《陪伴》，让我深受触动：家人的温暖，家人的一路陪伴，是一件多么幸福，多么温暖的事，正是因为给了我太多的爱，才让我觉得给的我理所当然，觉得是多么自然的事情，其实我们都应该珍惜这种亲情，感谢家人的陪伴，总有一天我们都会长大，离开曾经温暖的家，我不想因为长大了之后才会遗憾。所以从现在开始，珍惜爱，保护爱，在亲情的一路陪伴中走向幸福的未来。

三年级:戎沈楷轶

篇2：观微电影《远在天边》有感

今天我在爸爸的帮助下打开百度视频观看了微电影《夏天之旅》，这也是老师布置给我们的一项作业。《夏天之旅》主要讲述了一位中学生面对家长杂乱无序的教育方式产生了逆反心理，在暑假期间跑到舅舅家玩耍。偶然的机会学到了舅舅和表姐在工作、学习、生活上采取的项目化管理方法。最后取得了事半功倍的学习效果和明显进步的故事。

这部微电影让我感触最深的地方就是通过主人公的故事让我想到的现在的自己。自己平时就像影片刚开始时的主人公一样，放学或放假时除了完成老师布置的作业就无所事事了。在家不是和村里的小伙伴玩耍就是在家里看电视。真正放到学习上的时间也很少，更没有好好的计划。我不知道什么是项目化管理、对影片中提到的这个词也很陌生。之前爸爸跟我说过要合理安排自己的时间、多花点时间在学习上，但还是不知道如何计划。通过观看《夏天之旅》让我有了更加具体了了解。

篇3：观微电影《远在天边》有感

关键词：孤独 隔绝 电影语言

During the first-time reading, this short story immediately reminds me of the scenes in Wong Kar-wai’ movie: in a specific setting, usually a narrow space, the hero and heroine communicate with each other without much real contact; they seldom talk to each other; they just go about their own life. The communication is conducted by the details: color, minute movements, glances, all of which send the messages to each other.

But actually this story is quite different from Wong Kar-wai’ movie, which is full of beautiful women and handsome men and appeals to the social elite group with particular taste. The heroine in this short story is a fat girl, dubbed as Fat Maz, who is everything but pretty. However, this story do share a very important element with Wong Kar-wai’ movie: the theme of this story is the unbearable loneliness felt by people and how the character try to get out of his or her life of loneliness, just as the theme of most Wong Kar-wai’ movies.

Fat Maz is surrounded by people all day long, yet she seems to be the loneliest person on this planet. She works at her parents’ news agency. She has no friend, let alone a boy friend. Her father is an angry man, who does not seem to harbor much tender feelings for his little girl; Her mother is almost mute except for the drumming of the old radio, which is not even her own voice. They have raised Maz, and they feed her and give her a job. Yet they don’t pay attention to her. Conversations seldom occur when they are together. It’s like three of them are strangers living and working under the same roof. Finally, a tall dark man comes into her life. He reads a paperback novel called Distant Lands every lunch hour for fifteen minutes in the news agency. That is the highlight of the girl’s daily life. It may be a mystery even to the girl herself that which part of the man attracts her. Is it because that he is well-dressed, or that he’s been reading a book named DISTANT Lands, or that he comes to read when she is alone? Either way he becomes the object of her infatuation. She feels like he is the only person that is connected to her because they share something--the lunch-hour conspiracy. She lives in a prison called Solitude until he comes. He is under her wing during that limited time period. She even goes through a few crises for him, not that he knows. The blurb on the back cover of the book “You will want this book never to finish” speaks right into her heart. But everything has to end somehow. The Nescafe colored man turns the last page. The strange or ironic thing about this little crush is that they don’t actually exchange any words. The first time she tries to relax him by asking ‘interesting?’He does not answer and just pass the register with his eyes downcast. The last time he thanks her, tips her, and says goodbye to her. She says nothing. And he tips her like she is a waitress! She thinks they understand each other. But do they really have a tacit understanding? There is no doubt in the girl’s fantasy though. She winds around her finger with the long black hair left behind by the man, and she puts the starchy-new note between her breasts. She gets the sexual satisfaction with her fantasy. It’s hard to tell whether she is happy or pathetic at that very moment.

It’s like that she is living in an isolated distant land. No matter how hard she tries to reach, she touches nothing. The loneliness between the characters in this short story seems unbreakable.

And the author presents us this thought-provoking story by using a very simple but quite cinematic language. Just as said in the beginning of this essay, the reading of this story is accompanied by one scene after another in my mind, because the whole story goes like a movie being played. Sometimes I can even discern how the camera moves. The camera moves closer when the details are covered, and it stays still for a while when shooting some important details: his Nescafe hands, the gloss finish of his downpointed brow shining in the fluorescent light, the little snapping movement of his page-turning, and especially the facial expression when the girl they called Fat Maz watches the dark man leaving the last time.

The succinct and cinematic language makes the whole piece palpable and graphic. However, the other element that maks this short story have a depth is the symbolic meaning of the descriptions. Why the author chooses a fat girl as the heroine. What does fatness represent? Fatness means resignation. Keeping fit requires energy and determination to fight with life itself. Yet the girl is not totally resigned. In her partial resignation, she keeps an eye on her weight because she can feel herself growing fatter everyday. She tries to reach out to break the isolation, and she fears that the other fat red woman in a shiny cardigan could be her future. The thing that is patently missing in the other woman is the will to have a different life more than the life in a small seaside town. The name of the book that the dark man reads also reflects the girl’s inner desire: she wants to get away from her life, which is also the reason why she would bicycle out to the edge of town and look along the highway. She hates the smell of the harbor. One day when she cannot smell of it at all, it means she is totally resigned.

篇4：观微电影《迷路的孩子》有感

作为一名负责任的教师，往往不自觉地会暴露出一种习惯，凡事都想得很周到，根据自己的个性经验和学校的校风校纪，事先预测学生们在学校生活和学习期间可能会发生的问题，制定出相对完善可行的班级或课堂治理规则，与学生们一起学习，教育学生最好不要来闯这些底线，以此预防各类违纪事件和不良行为的发生。

也常见这种现象，一旦有的学生不小心触犯了学校或教师制定的规则，教师常常就行为而论行为，简单作出判断，把这类行为归位到校纪班规当中，给予当事人一定的惩罚意见。即使是采取宽容的处理方式，也会因各种理由无暇思考事件之所以发生的本质原因，不懂得去捕捉、运用行为背后的教育契机。

教师根据学生行为处理问题时，教育并没有发生，真正教育的发生，是在行为出现后的时间里。因此，当不良行为发生时，最好不要马上干预，直接处理。所有做父母的可能都能回忆起这样一种场景，当你的孩子被你管教训斥以后，孩子会抹干眼泪，主动走进自己，表现出对父母的爱，而此时，才是最佳教育机会。

在第31个教师节那天，我认真看完《教师博览》杂志首部微电影――《迷路的孩子》后，更加理解了我提出的这一观点的内涵，体会到了这一教育智慧的力量。

微电影中有这么一个事件，女主人公秋恬是一名到大山深处志愿支教的女大学生，她喜欢在上课时包里装一瓶花露水，用来提神。有一天上午下课时，她忘记拿回花露水了，等下午上课时，发现花露水不翼而飞。

秋老师在处理该事件时，采用的是常规的办法，在课堂上直接当着全体学生的面，问大家谁拿花露水了。使用的策略是用一句话“诚实的孩子，应该自己承认，不应该偷偷拿走别人的花露水”.秋老师要求拿花露水的同学明天自觉放在讲台上。但是所有的孩子都怯生生的望着秋老师，没有一个站起来承认的。

接下来发生了这样一幕：从男孩小辉的表情上，可以看出他好像知道内情，想站起来说话。但是旁边的男孩火根却突然说：“你不能乱讲话。”此时，秋老师说：“我知道就是你拿的。”火根从自己的`座位上站起来辩解道：“老师，我没有偷你花露水”,说完离开了教室。

其实真相是这样的，几个女孩课间拿花露水互相传递着玩，不小心掉在地上摔碎了。

随着剧情地推进，学校校长到教室告诉秋老师火根失踪的消息，秋老师和同学们一起去找火根，花露水又回来了。

这一件件事情的发生，原来都是火根不想让老师伤心，发动同学集资买花露水，因为去山外购买，结果因天黑迷路而耽误上课。

秋老师因“花露水事件”,同学们的纯朴而善良的行为，被深深地打动了。她说：“大多数人认为，支教志愿者如同福音般地为大山深处的孩子们点亮希望，为他们指明前行的方向，但我的支教故事恰好相反，朴实的孩子们教会我放下功利，真诚地生活。”

孩子们行为背后的故事最终融化改变了秋老师起初支教的动机：表面支教，实为考研。

可见，学生的一些看似不能让人理解、甚至让人气愤的行为，其背后却隐藏着一些感人的故事，隐藏着一些高尚品质、一些敏锐的情感、一些极其珍贵的正待孕育成长的人生观、价值观和世界观。