However, we can find that the strategy of frame which was used by Ding Beili is aimed to the interests of shadow, outline and water vapor which is under the unbound state.

• 但我们同时也会发现，丁蓓莉所使用的画面策略，还不仅仅是对这种转换的关注，她对实体的暗影、轮廓以及处于游历状态的水汽的兴趣，要超出其他。