The common technique used in the large-time transition of this film is to cut an animal (rat, sleepy beast, jackal) behind the head, and make a metaphorical montage at the same time.
In recent years, this type of gameplay is the only thing that makes people’s eyes shine: Ma San finds Miya Haneda and is beaten out of the house. The shots of Ma San flying out of the house only leave the two movements of take-off and landing, in the middle. An icicle under the eaves was cut and shattered.
Two levels of expression: Aesthetically, the force of writing the palace is high, and it depends on Ma San being beaten. It is a bit silly to shoot upside down and fly directly, so the icicle is broken, which is a fictional reality. The first layer is the metaphor in the text. The icicle is broken in order to "push the golden mountain and pour the jade pillar". In this scene, Haneda died, and martial arts changed dramatically.
Since World War II, the development of film language has been an expression that tends to be polysemous. The biggest prerequisite for polysemination is the author’s de-dictatorship. The burst of the long-shot master is a process of "returning to nature".
The high level of Wong Kar-wai’s expression is that he writes objectively first, and the metaphors he takes are in the same time and space as the object. There is no strong sense of expression, and it is more in line with the integrity of the movie, which is not too straightforward. The icicle breaking is the content of the scene. When the incident happened, the audience instinctively looked for the cause and result of the incident. The result is obviously not important, because the next shot did not pick up a shot of an icicle smashing people to death. The important thing is the reason. The reason is obvious-Ma San flew upside down very fiercely, and it was broken just by hitting the door. Icicles under the eaves. The first level of metaphor is ready to come out-expressing how fast the horse is going to fly objectively, to reflect the strength of Miyahaneda's skill. This is an objective text setting, and the objective causality that connects the image itself is brought out. The second level of metaphor is a more subjective evaluation of the characters: the palace veteran is a martial arts master, the proof of the times. Miyahaneda beats Pegasus. "Pushing the golden mountain and falling the jade pillar" on the one hand talks about the status of Miya Haneda, and on the other hand, it implies that the "golden mountain and jade pillar" of Miyahaneda is about to be crushed by the torrent of the times.
There is a section in the second edition of "Big Buddha Ridge" by Misumi Ken: When Wen Zhicheng and Ryuujisuke are in a duel and confrontation, they switch close-ups between the two and their master to highlight the tension. This is the expression of editing. After the close-up of the master's face, it suddenly cuts into the close-up of the sun for a few seconds, which is a wonderful pen.
The cut-in sun gave a vent in tension. This is a rhythmic meaning; it is also a sense of passage to create an image, because the fight is about to start next. In the sense of the image discussed in this article, it is similar to the design of "The Great Master".
First, cutting the big sun is to explain the objective existence of the sun. The sun is shining, which is an event. Similar to the above, the way to explore the cause of the event is blocked-it is a scientist's business to study why the sun shines and heats up, and the audience can only explore the "effect". If the sun emits heat and the people below receive light and heat, then the first metaphor is ready to come out: the people below feel hot, which is objective. The deeper expression is "tension". The sun and the master are edited together to express that the master feels hot. The master is hot because the disciples are in a duel. The objective existence of the sun itself is not the source of the "heat". "The appearance of the sun is a psychological externalization. This is a metaphor for Master’s nervousness. If one goes deeper, it can also be interpreted as the master is the sun, which makes Ryunosuke feel hot. This is the motif of the film. Ryunosuke himself is a person who has rebelled against mainstream values, and as we know him, he has received the first place. One punishment is to be "expelled from the teacher's door." Master is a symbol of mainstream values, the sun, and the stone supported by the dragon.
The icicle and the sun are at the same time and space as the action of the character, and they are connected with the action of the character. The editing process not only completes the narrative expression of the text, but also breaks the closedness of the space in the expression of space. It is a master technique.
To a certain extent, the principle of metaphorical route design is similar to the basic logic of classic editing (moving and moving, static and static; full connection, medium close, close special). Semi-subjective and subjective". It is only for the purpose of making the audience not feel "out" in the objective spatial relationship in the image, and the purpose is to make the audience not feel "out" in the subjective audience's interpretation of the space.
Why is the metaphorical montage in "Traitor" inferior to others? The reason is that it is straightforward, straight to the point of explicitness, and explicit art is a hooliganism. It is a bounden duty for artists to cover themselves and avoid being deconstructed as much as possible. Griffith once cut the whispering peasant women and the chirping chickens together. This trick of "Traitor" is not new.
Metaphor is not a high-class technique, sometimes it is a gift of flattery to the audience. One of its effects is to mobilize the enthusiasm of the audience. The metaphor is too straightforward, it is better not to hide, just as the difficulty can be solved by not designing the protagonist in the drama. It is even more inappropriate to use metaphor as a circuitous tool for the author to express his mind. Video is an art that mobilizes reality. If it does not destroy the integrity and at the same time complete the metaphor? The above are two good examples.
The same problem appeared in the opening "slaughter segment", which was a baptismal segment plagiarized from the end of "The Godfather." The whole is a parallel montage, where the death of the family in the hometown is compared with the extravagant life of the male protagonist in Brazil. The problem lies in the numbers of the subtitles. The subtitles show how many people died in their hometown, and on the side it is the brutality of the old family and the ferocity of the bad guys. Endorsement for the male protagonist's whistleblower.
The biggest difference between parallel montage and cross montage is that the two things cut together do not have the unity of time. The subtext without the unity of time is "powerless", and the role cannot change the occurrence of another thing. Therefore, the core of parallel montage is "contrast", which is a critique of rationality. When the film talks about rationality, it means the intervention of the author's consciousness. The parallel montage itself is sufficiently explicit, and the director has to add subtitles. This is the heart of Sima Zhao-everyone knows, and it is far less than the expression in "The Godfather" decades ago.
"Metaphor" is more explicit in the image itself, while the opening captions are explicit in the editing. A normal film is enough to be explicit, but both are too explicit. The large number of dew-point shots in the movie seem to be a metaphor added by the author's subconscious mind—this film is a showy movie, playing hooliganism to the audience; I don’t want hooliganism, but you want me to dominate the interpretation. It's hooliganism.
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