In this 6-minute passage, it started with a cross-editing between mother and Alyosha. Mother moved from right to left in the picture, Alyosha moved from left to right, and finally met on the road in the rice field.
Mother's running is the colorful movement in this passage. There are 5 shots showing the mother's running from different angles and different scenes. The lens scene changed from distant view to medium and close view; the running location was from forest to hillside to field, always in backlight, and the shooting was very beautiful. In Zhang Yimou's "My Father and Mother", there is also a similar run, which appears in the plot of the heroine going out to chase the actor.
The most classic of the climax is the 9-second long shot showing the encounter between mother and child.
The so-called long shot refers to “maintaining the unity and integrity of film time and space in a continuous shot, expressing the continuity and integrity of the character’s actions and the development of events, so that it can more truly reflect the objective reality and conform to The characteristics of documentary aesthetics.”
Although this lens is only 9 seconds, it is a model of the use of long lenses. The camera starts to take the whole picture from the top: the car Alyosha rides in the picture slides from right to left to draw out. Then the mother started drawing from the upper right corner of the screen and ran to the lower left corner. As the mother entered the painting, the camera changed from static to shaking, and panned from right to left as the mother ran.
The movement of the camera is not arbitrary movement, it needs an opportunity for movement. In this shot, the opportunity for the camera movement is the mother's running.
Mother stopped in the middle of the road, but the photography did not stop, she continued to pan to the left. As the camera pans, the previously painted car appears. At this moment, the mother is in the lower right corner of the picture, and the car is in the upper left corner of the picture.
In this 9-second long shot, there are rich changes in the scene; the car naturally goes out and into the picture; the direction of movement of the car and the mother is diagonally deep in the picture, and the movement of the car is from near to far, The mother's movement ranges from far to near.
The content of the scene is: Alyosha finds his mother in the car; his mother runs; the mother finds Alyosha and shouts. This is "to maintain the unity and integrity of film time and space in a continuous shot." The director has always used montage cross-editing in front of this shot, and in this shot, a nearly perfect long shot was constructed with very accurate and refined actor scheduling and shot scheduling.
The 9-second long shot may seem simple, but it is not easy to be so accurate and refined. It is not only the embodiment of the photographer's profound skills, but also the director's grasp of the film's structure and rhythm, as well as his outstanding performance in audiovisual.
Since the mother runs, there is silent music in the film. With the cross-editing, the music changes from weak to strong, and the rhythm and emotion become more and more exciting, and finally reach the peak in this long shot. And as the music ended, the mother screamed: "Alyosha--" The
film has been suppressing and accumulating emotions. In the previous hour of content, the characters have been constantly setting obstacles and frustrations, just like a choppy river is blocked off a road embankment stopped, the face of strong banks, the river can not give vent to constantly slap, tumbling, water potential rising more and more anxious, more and more unable to contain ......
with " Alyosha—"Screamed, Changhe finally broke out! The film reached its peak, and the audience's emotions were finally released and satisfied.
The next content is the mother and child hugging each other.
After the mother and son hug, the director uses 4 close-up shots and 1 large close-up shot to portray the facial expressions of the mother and son. The first close-up shot of the mother's face; the mother is drawing on the left. The second close-up shot of Alyosha's face; Alyosha is drawing on the left. The third close-up shot of the mother's face, she turned her head; the mother was drawing left. The fourth close-up shot Alyosha's face; Alyosha is drawing on the left. The fifth close-up shot of the mother's face, she was crying; the mother was drawing left. The 5 lenses are always in backlight.
In these 5 shots, the director continued to reverse the axis. This is a rather strange passage. Under normal circumstances, such frequent reversal of the axis will cause visual confusion for the audience. Probably the director wants to use visual confusion to reflect the extremely excited emotions when the characters in the film meet. From this perspective, although frequent reversal of the axis of the lens will cause visual confusion, the mood of the lens is more in line with the mood of the character.
Using the lens itself to reflect and embody the emotional and emotional changes of the characters is one of the outstanding means of director's artistic expression. In Hitchcock's classic film "The Cry", there is a company office scene shortly after the opening, about a wealthy businessman who came to the company with a large sum of money, and the company owner instructed the heroine to deposit the money in the bank. In this scene, one of the shots appears to be out of axis.
In the American film of 1959, the cross-axis appeared unexpectedly, and it was the film of the great director Hitchcock. In the movie concept at the time, crossing the axis was almost equivalent to the director making the lowest-level mistake. But Hitchcock used this cross-axis lens to quietly convey a message to the audience: the heroine's psychology has changed. The visual chaos beyond the axis reflects the chaos of the heroine's psychology.
Although the axis reversal and the cross axis are not a concept, they have the same principles: "How to use the lens itself to tell a story." Changes in angles and sceneries; even the choice of optical focal length of the lens contains the director’s understanding and attitude towards the film, as well as the attitude and mood of the subject in the film.
The extension of "how to use the lens itself to tell a story" is slightly expanded, that is, "how to use the audiovisual language itself to tell a story." In addition to lens scheduling, there are actor scheduling, film environment, light, tone, color, etc. Human voice, music, sound, etc., these are all audio-visual components. More sophisticated directors use these audiovisual elements to tell stories.
This is often lacking in domestic films.
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