1. At the beginning of the movie, the speed of the narrative is abandoned, and the original car of people is divided into three groups as a whole (each has its own "task"), and the movie is also divided into "three parts". Every piece, we watch, keeps a distance from it, 1 because of the time of the shot, 2 because of the scene and 3 fixed shots. That is, the movie does not go deep into the situation in any sub-"narrative line". The movie is non-relational and non-plot. In the movie at this moment, the relationship between the beats is not progressive, but parallel. Therefore, this makes the film's The time is more "longer". It went on indifferently and slowly. But "narrative speed" will explode in an instant, just like the gunshot, and its rationality is precisely because of the editing mode and style of the film. Then, back to silence again. Perfect rhythm, brutal violence.
2. Unconventional editing
In our normal experience, the arm is raised, and it is about to strike. The editing a of a movie is often to show the entire action from the beginning to the end. b If you want to rely on the action to do the editing, the editing point should be above the node of the action. And the cut point of this shot, b , is not above the regular motion node. Say your cut point is either at the beginning of the action or at the end of the action. Either shot1 and 2 complete this action together, but here, the action abruptly stops after the "scissors" edited in the middle process, and the " complete action" that should have been "missing" in our experience is also "missing", resulting in It creates an abrupt, non-experienced feeling that creates a static-collision between shots. 1⃣️It is abrupt, anti-experience, and unconventional 2⃣️Static collision 3⃣️The sound of hitting, the sound is a potential connection point The logical relationship between shots.
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