Use pictures to fill in words

Lillian 2022-09-23 12:10:28

This movie has been seen in music and art classes in junior and senior high schools. It seems that the teachers have rated it very well. I've seen it a few times myself, and it's about five times in total.
Usually composers are composers to score the video, which is turned upside down here. The protagonist becomes a symphony. I guess they make a short film like this, first of all, it is a holistic understanding, to imagine the scene created by a piece of music, or choose a storyline that fits this scene, and then think about how to split each phrase. Or the actions of the characters. However, it is not appropriate to say that there is music first, and then the picture. These music have also been re-arranged and played to fit the picture.
At present, there are not many such similar forms. Folk MAD, AMV and the like, but they all rely on god editing to collage a few frames of original pictures, lacking a coherent plot. In addition, popular music generally has a strong melody, especially some radio songs and even ghost songs, which can be edited with the rhythm.
In addition to Disney’s 1940’s Old Fantasia, Poland also has a series of animated short films for classical music. The cost of animation is not as good as Disney’s, and it is also afraid to use stories to express music.
It is difficult to give a narrative picture to a symphony. The beauty of music lies in the changes in scale, and the beauty of symphony lies in the blending of different instruments and parts. The change in the image is the sub-mirror, and the blending is the interaction between the subject and the environment in the picture, or the interaction between different subjects. But it is very difficult to implement, maybe a bit like writing poetry. A song, it is inevitable that a melody will be played repeatedly several times. At this time, you can't repeat the same scene again, right? Parallel imagination is limited, and the result is that the synchronization rate drops, or the screen starts to perform some transitional scenes to explain the plot regardless of the music. Indeed, it seems that the synchronization rate in some places is not as high as MAD. This is no way. However, it is true that a certain phrase of certain musical instruments will make people naturally focus on a certain subject of the picture and imagine moving along with it.
Personally, I think the most successful is "Rhapsody in Blue". The style of painting is very good with JAZZ, and it is the kind of casual performance of JAZZ. The plot is humorous, the rhythm is tight, the synchronization rate is high, and it has a little practical significance. The second is the flamingo playing yo-yo, this one is refreshing, and the synchronization rate is broken.

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Extended Reading

Fantasia 2000 quotes

  • Bette Middler: Hi. You may not know this, but over the years, the Disney artists have cooked up dozens of ideas for new Fantasia segments. Some of them made it to the big screen this time. But others, lots of others - how could I put this politely - didn't. For example, the Danish illustrator Kay Nielsen drew these sketches for a segment inspired by Wagner's "Ride of the Valkyries." Here they are, and there they go. Now, Salvador Dali, you know, the "limp watches" guy, he got into the act with an idea that featured baseball as a metaphor for life. How come that didn't work? Makes perfect sense to me. Let's see. Then we had a bug ballet and a baby ballet and for a time, they even considered a sequence inspired by the Polka and the Fugue from Weinberger's "Schwanda the Bagpiper." But finally, a success. The Disney artists wanted to create a short film based on Hans Christian Andersen's wonderful fairy tale The Steadfast Tin Soldier, but they could never find the perfect musical match until now. Here is Yefim Bronfman playing the Shostakovich "Piano Concerto Number 2" and The Steadfast Tin Soldier.

  • Penn: [introducing "The Sorcerer's Apprentice"] Ladies and gentlemen, we'd like to take a moment, if we may, to talk about a little something we like to refer to as magic.

    Teller: [finger quotes]

    Penn: Uh, picture this. You're at home, hosting a birthday party for your daughter, and you've just shelled out 50 bucks so some pathetic loser can pull a mangy rabbit out of a flea market hat. At first, you might wonder to yourself, "How did he do that?" But then *you* would probably just dismiss it as some sort of a trick. And you know something? You'd be right! It's just a trick! It's an example of what we laughingly refer to as "stage magic." We're here to tell you that all stage magic is a fraud, a hoax, a sham. It's all based on deception and, yep, *lyin'*! All of it. Sleight of hand...

    Teller: [pulling out cards]

    Penn: Lies! Transformations?

    Teller: [pulls out an axe]

    Penn: Fraud! Dismemberment?

    Teller: [cuts a fake hand]

    Penn: Rip-off! Fake! All are illusions. What we're here to talk about is real magic. We're gonna bring out a guy now who's the real deal, the genuine article. In fact, he taught us everything we know. And he is featured prominently in the next sequence from the original Fantasia, "The Sorcerer's Apprentice." Y-You know, come to think of it, The Sorcerer's Apprentice is a - is, is a little guy who, uh - who never speaks and just kinda messes everything up...

    Teller: [cuts Penn's hair]

    Penn: [quietly] Like him. And now...

    Teller: [interrupts Penn]

    Penn: Wha - And now, the...

    Teller: [pulls out a rabbit]

    Penn: Oh. Hi. Hi, little fella. I gotta - I gotta - And now, "The Sorcerer's Apprentice."