The theory of full-length-shot proposed by French film theorist Bazin is also known as " paragraph shot theory ". It fully expresses the thoughts of the objective world. He believes that the nature of the film is the restoration of the objective world. The dramatic ellipsis based on causality should be abandoned, and the reality should be reproduced in a complete and natural way, without cutting off the time and space where things happen. Montage Using the method of decomposition and combination not only destroys the complete unity of the object world, simplifies and degrades the reality it depicts, but also leads the audience's attention to the things that the director pays attention to. The objectivity of things is replaced by the director's subjectivity, and the meaning of Complexity is replaced by singularity. The audience cannot be in a position of free choice and independent judgment, the initiative of thinking and evaluation cannot be exerted, and the room for imagination is lost. Therefore, he believes that reality is ambiguous, and only the use of Only long shots can provide the audience with the opportunity and right to freely choose pictures. This theory has positive significance for emphasizing the authenticity of film and television works.
As a new type of art, film does not bring the aesthetics centered on the producer, but the aesthetics centered on the audience. Through the lens angle and changes of the lens, the audience's input and equivalent effect can be realized on the screen, and the The film not only achieves the unity of the subject being described (actor) and the object (viewer) who sees it. It also proposes a new aesthetic in which the viewer will have an experience similar to the character he sees, and then immerse himself in it In this figure, it can also be seen that in the appreciation-acceptance of art, the boundaries between the subject and the object become blurred, and the viewer's level of input is different, and there will also be deviations in viewing and appreciating the object.
In the movie "April Three Weeks and Two Days", the director implements Bazin's long-shot theory and continues the continuity of time and space. By holding the long-lens swaying, it gives the characters a sense of unease. The camera avoids the character's behavior and follows the character's behavior. , I don't show the details of the scene, but show all the details together. At the beginning of the scene, the two of them were packing their belongings in the dormitory. (The blonde female lead went to the bathroom, and her classmates called her that the counselor was looking for her, because her menstrual period was two weeks late and she had to bring her with them. The doctor's certificate) opens with a social background. The social background contained in the film, in the form of daily content that is close to daily life, the environment of university life still feels open and free, and does not deliberately magnify or distort the country's kidnapping at the level of human nature and morality. The camera sometimes acts as a subjective perspective that the characters follow psychologically, but from time to time it stops abruptly, as a calm bystander. It interrupts the consistent unity between the audience and the characters, and constantly sees the emotional connection between the audience and the characters in the film. In the detachment and immersion viewing experience, this goal is achieved through selective lens language.
In the overall picture color installation aesthetics of the film, the whole and details perfectly interpret the unity of layers. The color contrast of the different beds of the two people in the bedroom is red and blue. The heroine wears blue clothes and black pants corresponding to It is also that I put on the blue poster wallpaper and the blue bed is also reflected. The roommates on the opposite side are mainly red, and the character posters are red. The color tone of the picture is cold, and the scenes are dark and cold. The composition is all about the character as the center of the picture, the surrounding scenery will not be overwhelming, and there is a feeling that the surrounding environment is holding the character.
The overall tone is dark, but occasionally there are extremely bright color conflicts. Sitting in the doctor's red car, the overall dark and gloomy tones in the movie screen and the elements that make up the content of the picture always have a harmonious conflict. Whether it is a university Inside the bedroom, the picture of the host receiving the phone call, and the scene where the heroine takes the doctor into the hotel and waits for the elevator, the gloomy tones did not cause the interior space of the film to be flat due to the dim colors, but the colors were ingeniously matched, and the bright and orderly distribution made it possible. The overall space is darker and deeper. It conveys a unique cinematic aesthetics. In the transition between different scenes, most of the whole film uses panoramic lenses. The sense of space of the scenes shot through the lens can be divided into two categories. One It shows messy but life-like scenes. For example, student dormitories, restaurants, and family dinners, each scene explains the environment through a large number of accumulated objects, and is rooted in reality, so as not to strip the audience out of the audience. The inner space of the movie is free from different scenes at the same time as the protagonist. On the other hand, in the shooting of the outer space, the streets are always empty. Especially after entering the night, a few scattered street lamps dot the roadside , The light reflected by the water stains on the asphalt road after the snow melts makes the city even colder and more humid. In the process of the heroine quietly abandoning her roommate's abortion, the darkness of the city devours the main body of the characters from time to time. On the one hand, it increases the tension of the characters when they act, and does not deliberately shape the cruelty of the real environment, but it also reveals that the protagonist suffers from the persecution of his own environment.
There is no complicated lens language, but it truly synchronizes the audience with the psychology of the movie characters. Through the calm but swaying lens, the contradiction in the protagonist's heart is continuously conveyed wave after wave. Come out, the oppressive feeling rooted in reality wraps the whole film, and the long shot connects the inside and outside of the frame, which is even more disturbing. In the final scene, the two people who are the foreground of the picture face the secret of private abortion. Anxiety, or the prostration that escaped the catastrophe. The background is a lively and joyful wedding scene. The sequence is deliberately disordered, which inevitably produces a great irony and contrast. The calm and restrained lens makes the content of the picture obtained by the audience combine with the magical reality in the film to generate thinking based on social behavior.
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