Soviet Gorky Children's Film Studio produced171 minutes in color
in 1972 Director: Rostotsky Screenwriter: Bao Vasilyevs Rostotsky Photography: V. Schumsky 1. What to shoot, how to shoot, and why? The world's major film countries and film masters first mastered the language of the film medium. People often say that letting the picture speak (that is, letting the visual image speak) can be said to measure the language level of an audiovisual work (in the language of words). The standard of what is commonly known in the field as a writer's "literary proficiency"), and it is wrong to measure it in written language (i.e., "dialogue" or "explanation"). Under this premise, we must first learn to "read" the picture and vocal cords. Some people interpret the concept of "reading" as "interpretation", which is a mistake to use the acceptance method of written language to set the acceptance method of audiovisual language. fault. Obviously, the audio-visual image of film and television is intuitive, and the film language uses light waves and sound waves to stimulate the audio-visual senses, rather than identifying a random symbol that needs to be learned and memorized, so it must be read first. post-interpretation, rather than first-interpretation-later-reading. Please pay attention to such a thing, when many people talk about a work, they are always limited to considering the theme, subject matter, story, and character. It seems that with all this, the success of the work is guaranteed. Such a general phenomenon has been pointed out in Robert Edmund's textbook Picture and Sound. For example, in the more than a thousand years since the birth of Christ, how many painters have painted such a good subject for Christianity as the Virgin and Child? There are probably hundreds of thousands of such works. But how many of them are preserved in art galleries and galleries now? Countless. That is to say, after the subject matter (what to express) is established, the question of how to express it must be considered, which is as important as what to express. A good subject does not necessarily make a good presentation.
When Soviet director Rom asked Eisenstein for advice on his upcoming film, Eisenstein's first words were, "What was your first shot?" This shot is a classic shot, and the second shot should be treated like this, hundreds of shots in the whole film should be like this, every shot in the second film should be like this, every shot in the next film should be like this . In the language of literature, it means "choosing every word". A Hollywood director once said, "The shot you are shooting should be the most important shot in the whole film. "How to shoot" and "Why do you shoot this way" should be mentioned on the agenda of our film and TV creation. This aspect is our biggest lack at present. There are many directors who just can't say "why they shoot like this" for a certain scene of his. Even the ready-made scenes shot by others can't be analyzed.
According to "Here's The characteristics of "The Dawn is Quiet", this article does not analyze the main paragraphs, but analyzes from the aspects of audio-visual language, characterization and structure, focusing on audio-visual language.
2. The space of film
1) The concept of space in Soviet films
After watching this film, we may find a problem that the spatial relationship of the places where the events take place in the film is very unclear. Take the station as an example, the position between the warrant officer's residence and the female soldier's dormitory, the anti-aircraft gun position and the bathroom is unclear; the positional relationship around the swamp is also unclear. This way of dealing with space is very different from a Hollywood feature film. Audiences who often watch Hollywood-style feature films may find it very uncomfortable. There are two reasons for this: First, we are familiar with the concept of the stage surface in the processing of movie space. In the stage script, there is a scene description at the beginning. At this time, it is first necessary to explain whether the door is on the left or right of the stage, whether it is open or closed. Where to go, where is the window, what is outside the window, where is the table, where is the vase, etc. This is stipulated in the stage script. In order to occupy the film position, some drama theorists try to separate the stage from the drama, saying that the stage should be abandoned, and the drama cannot be escaped. From our point of view, staging is determined by dramatization. For example, the stage space we are talking about here is determined by the three unity of drama, which is created for stage performance. In the 1930s, Hollywood films were deeply influenced by drama. Therefore, Hollywood films must have a stage-style account at the beginning to clearly explain the spatial relationship of the place where the incident occurred, although this method of account is larger in scale than that. The stage surface is much larger, starting with a world map or a bird's-eye view of a city, but it is the concept of a stage surface after all. Since the space is set in the first account, the next scene will no longer be inseparable from this space. When the characters are moving and talking, the audience can fully feel the "cocooning" of the characters. It seems that the director and the screenwriter have drawn these characters into prisons, or are possessed by ghosts. No one is allowed to go out until the words are finished. When the words are finished, change the place, and use another account to frame the characters. Continue to speak without finishing. No one is allowed to go out. Secondly, the concept of the Soviet director and theoretician Pudovkin's composition of film space is to use a camera to take pictures of the required space (using a camera to capture material in reality) , and then form a new film space on the screen, "The material of the film director is not the real processes that take place in real space and time, but the film fragments that record these processes. These films are completely subordinate to the person in charge of editing. The director's will." In more professional terms, this space is formed on the editing table, that is, various spaces are intercepted in reality, and then a unique film space relationship is formed on the editing table, and this relationship is in reality. It does not exist in , so this space is not limited by the specific shooting location. The most typical example is the concept of geographic montage. Through the movement of characters, Pudovkin connects Moscow's Red Square and Washington's Capitol Hill into one geographically connected space. He does not observe the relationship of pre-movie space, that is, the spatial relationship of the place where the story takes place before shooting, and Hollywood strictly abides by this pre-movie space relationship. So until now, most Soviet feature films don't use Hollywood's stage-style account shots.
Taking "The Dawn is Quiet" as an example, after the subtitles are over, the first shot seems to be an explanation shot, with the lake in the foreground and a small village in the background. But the second shot immediately jumps into somewhere in the village, a close-up of a soldier who is looking at the swallow's nest on the eaves in a trance. Here's a close-up of a swallow's nest, and the fourth shot is of the Major and Warrant Officer walking out of a house talking and talking. Not only did we not know where the house was located in the village, we didn't even see the whole of the house. That said, the film jumps right into the event in the fourth shot. Since then, the film has no more shots to explain the spatial relationship, and there are very few passages in the whole film that can draw a plan of the spatial relationship of the pre-movie.
Generally speaking, the battle scene needs to pay attention to a little space relationship, otherwise who is shooting against whom? But in this film, even at the first sniper position, we don't know where Lisa's position is and where Sonia's position is. The film simply omits the journey of the warrant officer from Lisa's position to Sonia's position. In the last blocking battle between the warrant officer and Lida and Renya, the position of the three people was also not clearly explained in a single shot. We only know that the warrant officer instructed Lida to pay attention to the situation on the other side of the lake at the same time, so as to prevent the enemy from going there from there. sneak attack. And then an enemy did throw a grenade from there, injuring Lida. That is to say, Lida's position is close to the lake, but the audience still has no way to judge which of the warrant officer and Renia is in the middle and who is on the top. But this is insignificant. Hollywood movies are purely to coax children and tell stories: there was once a mountain, and there was a temple on the mountain... Soviet movies are not about telling stories, but depicting characters, so this kind of account is superficial and inaccurate. Get in the way.
In another scene, the warrant officer took Galia to reconnaissance and met the enemy. Galia ran out of the hidden bushes in fright and was killed by the enemy. The warrant officer immediately returned fire and led the enemy away and followed behind. the other two female fighters. We can find a few examples from this paragraph to study the freedom and flexibility of time and space that other arts do not have.
First of all, the spatial relationship of this passage is not the space of that specific location, but the creator used that location to create a new movie space.
When the warrant officer spotted Deko, we couldn't tell from the screen where the two female fighters were behind. The warrant officer asked Galia to hide in a small bush, and he found another place to hide himself. The spatial relationship between Galia and the warrant officer was not explained. We only see a close-up shot of the two individuals, and a close-up shot of the four German boots passing through the camera from right to left. Then there's a long shot of the two Dekos walking down the slope from left to right (obviously from the warrant officer's view). When the two Dekos had walked two-thirds of the way across the screen, Galia got up from the bushes on the far left and ran to the left. Only then did we figure out the spatial relationship of these three groups of people. And after the warrant officer led the enemy away, it was still unclear where Lida and Renia were standing.
These two examples show once again that such a conception of cinema space is free from the confines of the stage plane of dramatic cinema. However, this concept of film space does not mean that creators can freely use the shots of Suzhou, Hangzhou and Nanjing to compose a space. There are other factors to be considered here. Although these three places belong to Jiangnan, but only in terms of architecture, each has its own style and characteristics. They cannot be integrated.
Another example, the use of the door in this film is also very free. Only the time when the warrant officer broke into the female soldier's dormitory showed the action of the character opening the door. In other cases, not only did he not open the door to enter the room, he did not even enter the room to cover the door, and he did not even explain the door. This is again out of the box of the theater stage.
2) Application of single-lens deep space
The biggest advantage of a single lens is to use the deep space to reveal new information, or to express multi-meaningful relationships. We often see that some film or TV creators who are accustomed to the mode of forward and reverse shooting also need to shoot forward and reverse when using a single lens with a large depth of field, and the effect will not be good. Under normal circumstances, such a large adjustment of the depth perspective will make the audience feel very uncomfortable and uncomfortable. On the one hand, the change in the relationship between the characters is too sudden, and the audience is at a loss; on the other hand, in the large depth of field, the relationship between the foreground and background creates multiple meanings, and the audience needs a certain amount of time to figure it out. When he had a thought, he immediately interrupted his train of thought. For example, the first shot is a close-up of person A, who is meditating in pain, and the second is a close-up of person B who appears in a window behind him, watching A with concern. The third shot is still a close-up of A. The fourth shot is a large depth of field shot from behind B outside the window, with A standing with his back to the camera in the background. The fifth shot is a close-up view of the front of B again, showing sympathy. This kind of processing is really messy. In fact, either use the fourth lens, the B outside the window is in the foreground, and A is in the background, or the first lens is changed to a lens with a large depth of field, the window is included in the background, and B appears in the window. Such a single shot has conveyed all the meaning of the scene, saving many unnecessary front and back shots.
There are some well-handled single shots in The Dawns Here Are Quiet.
For example, in the first episode, the scene where the warrant officer looks at the captured German military map in the room uses a single shot (see the analysis below for details). In addition, in the scene where the warrant officer came to attend the dance of the female fighters, the warrant officer was greeted coldly by the girls and left in anger. The last shot shows Lisa leaning against the door on the right side of the frame, watching the warrant officer walk away in the rain. The shot continues until the warrant officer walks out of the frame on the left, leaving only a profile bust of Lisa staring at him on the right. The director neither switched to Lisa's frontal close-up, nor did he chase after him to give the warrant officer a frontal close-up. This single shot, especially the rain scene, brings Lisa's emotions to the fore. In the scene where Renya kills a Deko for the first time, the director uses the deep space to reveal unexpected information. The warrant officer and the second De Kou were fighting on the ground. In the end, De Kok had the upper hand. The knife he was holding slowly pressed towards the Warrant Officer's throat. It seemed that the Warrant Officer could no longer resist. loose. what happened? The camera immediately cuts to the front half of Deko, who falls to the side with his eyes closed, revealing Renya standing behind him. She stood there, holding her rifle upside down, telling us that she had just given Deko this butt and saved the warrant officer. In a very short single shot, the director uses the method of removing the occlusion (that is, revealing the new space) to reveal new information, which is both concise and powerful, making the scene very compact and powerful. After the climax passed, the director used a slightly longer one-shot, showing Renia, who was suffering from stomach cramps due to excessive tension, vomiting in the right rear position, while the warrant officer leaned down in the left front position to search the jacket pocket of the dead body. In this way, the rhythm slows down.
In the film adaptation, the only obvious content change is the relationship between the warrant officer and the landlady (see appendix). In the film, when Lida found Deko in the woods, she ran back to the village to report, and when she ran to the warrant officer's house, she naturally went up the steps and went to the landlady's room to knock on the door, while shouting loudly : "Warrant Officer! Warrant Officer!" The Warrant Officer unexpectedly got out of the door downstairs. He was wearing a military shirt and apparently just got up from the bed. The action continues to develop around the discovered Deko. But this incidental stroke was cleaned up by the warrant officer. Because both the characters in the film and the audience thought he was living with the landlady before.
These few examples illustrate that film language is far from limited to front and back. Once the audience understands the effects of different treatments of the film space, they can appreciate and understand the film artwork in a deeper way.
3) Who stipulates that the use of the so-called "jump axis" cannot be skipped? In the lens language, skip axis is not only allowed, but also has its special utility. It can even be a style. Since there is a method of following the axis of the lens, of course there is also a method of not following the upper axis. This is a dialectical relationship.
For example, in "The Dawn is Quiet", in the fourth shot after the first episode's subtitles, the warrant officer, major and platoon leader come out of the house on the right side of the screen. They walk towards the camera,
then turn right around the corner of the house and walk Go through the window of the house; cut to the next shot, only the major and the warrant officer walk forward from the depths, with the lake next to the village in the background, they come to the foreground, turn right, and meet the soldiers milking the cow. From the shadow cast by the sun on the ground, we can tell that these two shots are big jumping axes. The shadow falls to the right in the previous shot, while it falls to the left in the latter shot.
For another example, before the warrant officer and the five female soldiers were about to pass through Numazu, the warrant officer gave each of them a crutch. Renya deliberately made it difficult for the warrant officer to find out what a crutch was. When the warrant officer replied, "You have a crutch in your hand. That one is called abduction." When Renia said, "Oh, Darry!" He didn't know Darry was referring to Darry's Detailed Dictionary, which was never used by fourth graders, and he appeared in front of the girls again. Ugly now not only stumped the warrant officer, but stung him. The warrant officer had already told the major that he had only studied in the fourth grade, and these female soldiers were all tenth grade graduates. The difference in education level was too great to lead them, and they asked to be transferred to the front line. This is how the director handles the shot. The first two lines of dialogue are that the warrant officer is on the left and Renya is on the right. As soon as the voice of "Dari" falls, the camera skips the axis and shoots from behind the two of them. The warrant officer is on the right, Renya is on the left, and the warrant officer turns around. With wide eyes, he asked, "What is Darry? Lida said outside the painting, "Stop making trouble, Renia. "This jump axis is extremely unsmooth and has a sense of jumping, but the director used the jump caused by the jump axis to make the audience feel the sting of the warrant officer visually. This is the editing performance, imitating human audiovisual perception Experience.
3. Unique film structure
The time-space structure of "The Dawn is Quiet" is quite complex, but it's well-arranged so that it's neither artificial nor easy to understand. The film has four space-time relationships: it is based on peaceful life twenty years after the end of the war, which is shown in color; the main body of the story takes place in the time and space of past wars, which is shown in black and white; The main time and space of the main body also has the memories of the characters at that time and the memory of peacetime. This is the super-narrative time and space of the past (the reality in the mind), but there are also the super-narrative time and space caused by the fantasy of the characters. The imagination based on memories and the warrant officer's reverie, etc., are all expressed in color. The time and space of past wars are tightly embedded in the framework of post-war peaceful life, between the harsh war years and the quiet peace, the heroic female anti-aircraft gunners and the carefree picnic youths. There is a stark contrast between people. Even for the time and space of the past wars of the main story, the film is divided into two episodes, the first and the second, and there is also a contrast between the two episodes, an emotional and atmospheric contrast. The first half of the film has little plot development, just episodic events that serve to introduce the characters and express the optimism of these female fighters and their different personalities, and although there are air strikes in the first half of the film Alert, there is also Deko, but full of optimism. The soldiers enjoyed the joy and ease that had been stolen from the artillery fire. At the same time, the first episode of the film is almost about love. On the one hand, it is the love in the memories and imagination of the girls; ,etc.
Crossing the swamp is the beginning of the change in the emotional atmosphere of the characters in the film, and the arrangement is very natural and believable, so that the audience does not feel that there is a dividing line. But after that, the temporary peace of wartime atmosphere of the first half was gone, and it was replaced by brutal local battles, hand-to-hand combat, and death. The rhythm also begins to change from soothing to tense, and the girls' fortunes have been changed by the end of the first episode. If you analyze it carefully, you will find that from the time Lisa is sent back to deliver the letter, the plot rises sharply along a curve, and the film shows the running Lisa and the warrant officer and the remaining four female soldiers at shorter and shorter intervals. Activities, Lisa's shot is getting longer and longer, and the five-person activity shot is getting shorter and shorter:
A. After Lisa's departure B. Five people's activities:
Move to Reserve 45"
Li Run 16" Dress Lumberjack 11'19"
Li Run to Swamp 31" Bless Lisa Scud 1'16"
Li Run
27" Found Enemy Didn't Leave 55"
Li Ru Swamp 52" Warrant Officer reconnaissance enemy situation 26"
Li drowned 1'21" Sonia went to get a cigarette purse and was stabbed to death by German soldiers 2'30"
Warrant Officer and Genia killed two Germans 4'57" As
can be seen from the above table, The deaths of Lisa and Sonia were only 2'30" apart, and within five minutes, two more Dekos died one after another, and within seven and a half minutes, four people died in a row. , until the end, only the warrant officer was left alive, and all the enemies were eliminated or taken prisoner. There is no doubt that this kind of structure arrangement is very unique, but the unsecret will guarantee the success of the film, and the whole incident of the film Therefore, the development is very natural and reasonable, mainly because each shot is carefully designed, the content and processing can attract the audience, the connection between shots is very accurate, there are no redundant shots, and the audio-visual language is rich and changeable. , this is the viewing effect brought by the time in the creator's hands. For example, in the section where the warrant officer took Galia to reconnaissance, after the enemy's gunshot, the warrant officer immediately returned fire, which failed to save Galia. After the forward and reverse shots, there is a 14-second motion shot, which can also be said to be a very common motion shot. But if you do a more careful analysis, you can understand how the film creators use the various A variety of audiovisual factors govern the viewer's sense of viewing time, and how a single shot in so-called real-time creates a movie time that differs from reality.
At the beginning of this shot, the submachine gun of the warrant officer is in the foreground, the middle shot is Galia lying on the dirt slope, and Deko is hiding behind the dirt slope behind her. They tried several times to the warrant officer. He rushed over and was crushed by his firepower. When the warrant officer started to retreat to the left, the camera immediately pulled to a medium and long shot and followed to the left. When the warrant officer passed a dirt ditch, there were several German bandits in the background jumping over the dirt slope and following closely. The warrant officer gave them a shuttle and continued to run to the left, followed by the camera. When he ran into another dirt ditch (the camera followed, stop), he encountered two Germans chasing from the background dirt slope. After shooting down one, he rushed out of the frame to the left. The camera didn't move, and another Deko rushed through the ditch and shot the warrant officer in the off-screen space on the right slope. This is an in-shot montage commonly used in Soviet films. Not only is the camera moving, but the shot is also full of multi-layered violent movements. The audience is attracted by so many movements. Nervous enough to forget the fourteen seconds long. Therefore, by fully grasping the laws of film audio-visual language, this feature can be used to consciously control the audience's sense of viewing time, so as to achieve freedom in creation.
4. Time and space relationship
1) The cuckoo of two eras
The temporal and spatial relationship between shots is a very important means in audiovisual language, and montage is one of them. The temporal and spatial relationship between shots is not limited to finding formal editing points. In "The Dawn is Quiet" There is a very good example of a lens relationship. Audiences who have watched the film will remember that at the end of the last episode, there was a young girl in a red shirt counting the cuckoo calls coming from the forest. As you will recall, in the previous paragraph, a small group of female warriors led by Warrant Officer Fedot discovered that the number of enemies was overwhelming. Early in the morning, the warrant officer monitoring the enemy's situation, based on the noise of birds disturbed in the distance, concluded that the two Dekos they were waiting for were approaching. He quietly woke up the squad leader Lida, and the two of them observed the movement across the river through the stone crack, and then ordered her to wake up the other female soldiers who were resting, and asked Sonia to come to him. Shortly after Sonia arrives, they find Deko on the path by the forest on the other side of the river: one, two, and the camera cuts back to the warrant officer and Sonia, who are hiding between two stones to monitor the enemy. When the camera was turned over to shoot the forest on the other side, a third Deko unexpectedly appeared from the woods. From now on, the camera is like the eyes of the warrant officer and Sonia, staring at the forest on the opposite bank, and we can only hear Sonia and Renya in the space behind the camera. , Lisa, Lida, and then Sonia, counting softly in a slightly nervous voice: three, four, five, six...six, seven...the camera keeps looking at the forest , let us see more and more German Kou appear. They counted down at an almost rhythm-accurate rhythm. Whenever the Deko on the opposite bank appeared a little later, it would appear that another female warrior was counting, and she would repeat the previous number. Last number passed: ...six...; nine, nine...twelve...twelve (this shot lasts 37"). When the shot cuts back to Sonia and the Warrant Officer At , she counted: fifteen...sixteen. At this point the camera cuts out again, allowing us to see (at a closer distance) the female warriors who are alertly and nervously watching the enemy at their respective positions: Lisa , Renia, Lida, and finally Galia, who is still sleeping. The creator did not make excuses because it was an extremely tense moment to do any subjective processing, inner voices, and counting voices of female warriors. There is also no posturing, "deep" reverberation. This presents a problem of artistic proportions.
When the camera cuts back to Sonia and the warrant officer again, she repeats: Sixteen. Note that the original novel has a separate chapter here. At this time, we only heard bird noises, and after a while, there was a cuckoo cuckoo close by, then a distant one, and another close. cut! The girl in red turned around and faced the camera, quietly listening to the cuckoo chirping three more times. Then she stood up straight and said to the forest, "Cuckoo, cuckoo, how long do you think I can live." She counted to eight (the shot was 54"), and the last episode was over. The inspiring and tragic sounded again The horn sound... The best part of this sequence is the choice of editing point. After the third cuckoo call in the black and white sequence, it cuts to the color sequence where the girl in red turns back - she obviously heard the past war The last cuckoo cry in the black and white passage of time and space. So through this ingenious switch, when the five female warriors in the Great Patriotic War were counting three times their number of enemies armed to the teeth. The cuckoo's cry seemed to be heard by the girl who is now living a happy and peaceful life. She also turned around to listen. However, the difference is that Sonia and the others are facing the god of death and the number of Deco, who is far ahead of them, while the happy girl is giggling and counting fortune-telling cuckoos. This creates a deep contrast, and the editing points are so tightly connected that the contrast between the two passages is even more intense. Strong. In fact, this contrast is achieved through various factors set by the director: color and black and white, two peers in different eras, counting, that is, the contrast of fate. The final horn sound summarizes this Thought. The film uses audio-visual language. The audio-visual language of this passage is worth more than a thousand words of missionary dialogue. It deeply touches the young people who are now living a happy life, and makes them cherish the memory of the sacrifices made for today's happy life. The peers of their own life, they also have the right to live a happy life. The vivid, profound and simple audio-visual language arouses the audience's thinking and makes the audience participate in the creator's reflection. In fact, the more profound the thought Emotions require more simple language. Whether it is a missionary dialogue or a pretentious esoteric reverberation, it will only turn the audience away for thousands of miles.
In the previous paragraph, the creator used the front and back shots several times. But he did not use This back-and-forth pattern is for long-winded nonsense, but shocking information emerges with each back-shot. And the last sequence, which uses only one shot, prompts the viewer to ponder.
2) Warrant Officer in the Swamp
After Galya was killed by Deko, the warrant officer deliberately drew the enemy away, so that Lida and Genia could report back to the enemy. They stood by a birch tree, listening nervously and restrained to the gunshots and shouts in the distance. After the last burst of submachine gunfire, there was silence. Transition - the anxious waiting of the women in the resident. What happened to the warrant officer? The creators left the audience with a little anxious suspense for the time being. Next came the warrant officer lying motionless in the grass beside the swamp. Is the warrant officer dead or alive? I saw him move a bit, and then slowly sat up. As he rolled the cuff of the wounded left hand with his right hand, the grand piano played the tone used in Lisa's recollection. In the color picture, a woman gradually becomes solid. The music and the virtual-to-real footage give us the illusion that this virtual image must be Lisa. Because we are already familiar with this Russian folk tune played by the grand piano in the flashback scene of Lisa, and we also know the vague relationship between Lisa and the warrant officer. But when the image in the lens becomes solid. What we saw was the landlady. Why does Lisa's leading music lead to the landlady? The connotation of this lens is more complicated. Someone missed reading the music, and his understanding might just be that the warrant officer thought of the landlady, and his relationship with the landlady seemed to be a simple life relationship of milk and potatoes. Of course, this interpretation also makes sense, especially when the landlady pours the milk out of the crock, the close-up of the white milk and the juxtaposition of the grim war footage in black and white is starkly contrasted. However, people with stronger audio-visual reading ability have a more delicate understanding of this shot. We know the Warrant Officer's attitude towards the landlady and Lisa, and we know Lisa's attitude towards the Warrant Officer. The landlady appears on the screen, but the music belongs to Lisa. Who is more attractive to him? Obviously Lisa. Just because what is hidden is often more important than what is revealed, and what is in the subconscious is often closer to the truth than what is on the conscious level.
The camera then returns to the harsh reality of war, and the camera slowly moves forward from its original position for a close-up of the warrant officer. As if something was attracting him behind him, he slowly turned his head and looked in the direction of the swamp. Che, three female warriors: Renya (left), Lisa (middle), and Sonia (right) appeared in front of him (color lens), Lisa took a step forward and entered the vision of the warrant officer again. in the image. The music is still Lisa's. Then back to the warrant officer, but the camera seems to be in the fantasy position of Lisa, so we see a close-up of the front after the warrant officer turns his head. As if seeing something, the warrant officer turned his eyes to the right and tilted his head a little there. The back shot of the camera used to be the crutch that Lisa took when she was crossing the swamp. Then cut out a colorful close-up of Lisa, her loose hair gleaming golden in the sunlight, and her face paler. If your audiovisual reading is sharp, you'll see that she's wearing the same white army shirt she wore when she drowned in the swamp, except now it's white and neat. After six seconds of this shot, we hear the warrant officer's voice: "How can you do this?" Lisa replies, "I'm in a hurry!" At this point, the black and white swamp begins to overlap, Lisa slowly Slowly sank (hidden) in the swamp. Cut, close-up of a warrant officer's eye. Cut again, it's the same crutch that Lisa used again, and the shot lasts less than a second. The music also stops here.
The use of time and space here is complex: narrative time and space--super-narrative space-time--narrative space-time--super-narrative space-time--narrative space-time--narrative space-time stacking narrative
space-time--narrative space-time--narrative space-time. However, because it accurately reflects the inner activities and feelings of the warrant officer, it does not give people a superfluous feeling, nor does it become a trick to play with time and space.
3) Present tense of the movie
Let us first look at the transition from the peaceful life after the war to the time and space of the past war. The first sentence of the red girl was a poem - "The dream of the dead is the smoke of war". The more important meaning of this poem is not the meaning of the poem itself, but the later time and space of the war in the past. It was also read out by Sonia in the same place, under the same scene, and with the same affection. Perhaps this comparison is to illustrate that girls in different eras and under different backgrounds have the same feelings, but have different fates. After this poem, a red flame appeared on the screen, gradually filled the entire screen, and then gradually weakened. At this time, the tower of the monastery by the lake of Liaogongtov, which was exposed again, changed from the previous color to black and white. , so the film enters the past from the present.
Here, we must present another feature of cinema, the present tense of cinema. As George Bruston points out, the present tense is the only tense of the movie. "A film that unfolds in a tense that is always present, like the visual field of vision itself, cannot express neither the past nor the future." From this point of view, it can be said that the film has no tense. So, no matter what era a shot is in, we see the action in it with the same appeal as if it were happening right now. In addition, because everything in a shot is actually happening now, each shot can be connected to the next to form a continuous development of action, the flow of action from one shot to the next A series of endless, ever-changing shots come together. "The short shot disappears into the rapid change of a series of shots, and the past and the present seem to merge together."
Of course, the past tense is not necessarily a memory in the film. Many films use flashbacks as a simple narrative technique for storytelling. But once the flashbacks are presented objectively, advancing the storyline from an omnipotent perspective, we're bound to see the action as something that happened "now". Shortly after it came out, the past immediately became the present, and when the flashback ends, we generally feel a little stunned and find ourselves back in the future and dealing with a new present tense. It is this feature of the film that makes the use of super-narrative time and space about memory and reverie in the film play a unique contrasting role in the audience's psychology.
4) The girls' super-narrative time and space
We know that the war broke out in June, so the memories of all the girls are naturally about the time before the war, and the performance of "May Day" appeared in Reniya's memories; Sonya's is 41 years New Year's Day, and all the memories are tied to the weather at the time -- snow -- which justifies the white tones in these passages.
If you explain it carefully, you will find that the memories or reverie of the five girls are different. First, in these passages, a sharp zoom lens is often used to represent the transition from memory to reality for a dramatic presentation. However, this technique was only used on Lida, Renya, and Sonia. This is important, because only the three of them have truly enjoyed the love that really existed. While Lisa is unrequited love, Galia is more fantasy. For example, Lida's first recollection begins by the bonfire and ends at the bed. The omission of time and space is extremely concise, and the fire corresponds to the bonfire. In this flashback, there are no real-world sounds except for the applause, but all music, which in turn combines with the almost surreal white-toned style of the passage. Lida's second recollection begins in bed and ends with a battle alarm. Since the second recollection is the event before her deceased husband's expedition, it is not difficult to understand as mentioned above. Why did she have to kill the parachuting Deko, and after hitting the enemy, she couldn't help but recall her husband's look back before he went out.
Renia's memories are also divided into two stages, the first part is romantic, and the latter part is extremely stylized. This is first manifested in the fact that the family is on one side of the dining table when eating, which itself is not in line with the actual custom; then the dialogue between Renya and her father about the head of the group, although there is no mouth shape, seems to be imaginary However, judging from the expressions of the two and the position of their bodies, it actually happened; finally, the position of the family members at the long table was the same as the human-shaped target when Renya and the regiment commander practiced shooting together at the beginning of the paragraph. There is a shift in between, the action is frozen, frame by frame.
Galya's fantasy is the most unrealistic, a complete copy of Prokofiev's musical and the Soviet musical "The Path of Light" (the one sitting on the meniscus is the most obvious), a treatment that fits the character Character who loves to watch movies. And her fantasy is also full of fairy tale flavor, such as the appearance of crystal slipper.
5) The Warrant Officer's Super-narrative Time and Space
Regarding the Warrant Officer's imagination by the swamp, it has been analyzed in the previous article, so I won't repeat it here. Let's analyze the different processing of the three paragraphs on the lens language of the warrant officer's imagination about female soldiers. After the warrant officer stole the enemy's gun, he came to the logging lake and thought of five female soldiers, this time in black and white, and they were all not wearing military shirts, just white shirts. This section uses a slow panning shot, showing the female soldiers standing by the lake quietly and motionless, only Lisa turned her head slowly and faced the warrant officer head-on.
After all the five girls were sacrificed, the camera quickly pushed the close-up of the warrant officer walking in the forest, and then flashed the close-up of the five female soldiers, this time in color (mainly in army green), the girls wearing military uniforms , and carrying guns, their flashing order is basically in the order of their sacrifice.
At the end of the whole film, there are finally five female warriors standing by the rock in full force. This time it appeared in a worn color. Unlike the Warrant Officer's recollection or imagination, the five girls shown in the former are static and motionless, while in the latter there is an element of wind and a moving camera, so that the wind blows the hair, and the camera pans. When there were five girls, due to the different heights of the five girls, the cameras were up and down. The combination of the two produced a feeling of life. This was for the psychology of the audience who had experienced the deaths of the five girls. It was a huge impact, and this audio-visual language really expresses the concept that martyrs will always live in people's hearts.
5. Excellent audio-visual language
1) From the viewpoint
, it can be said that there is only one content expressed in "The Dawn is Quiet": the cruelty of war; the theme reflected is only one point: anti-war. The full connotation of such a story theme itself has already given birth to a strong appeal to the emotions of the audience and readers, and the feature of the film as a medium that distinguishes it from other media is precisely the audio-visual perception it brings to the audience. Physiological and psychological stimulation and impact are the most direct and specific causes of emotional reactions. Therefore, after fully using all audio-visual means, the film has produced an artistic charm that is far incomparable with the abstract text medium on this heavy theme.
A. texture
Texture is the most basic information to record figurative, soft fur cannot be photographed like a hard felt. After the warrant officer had distracted the enemy, he lay down beside the swamp and woke up with the landlady in his mind, a colorful passage, the milky white color when the camera finally pushed towards the milk being poured from the milk jug The texture of the milk is in stark contrast to the harsh black-and-white footage that returns to the reality of war. It is also one of the forms of the contrast between peaceful life and war that is repeated in the film. The connection between these two shots reflects the theme. In the colorful passages of peaceful life, the contrast between the gorgeous colors of the fiery red forest in autumn and the severe tones of the black and white forest in the time and space of war has also become the theme of the whole film, which is the message conveyed by the texture. The means of further expressing meaning on the basis of texture is the viewpoint, which is the attitude, which is of course the attitude of the creator or the attitude expressed by the viewpoint of the characters. For example, the five female warriors in the film are more beautiful in their respective colorful memory passages, which is the creator's attitude towards war and peace.
Above, we've talked about an upbeat mood in the first half of the film, but are we just seeing laughter here? Do you not feel the cruelty of war at all? The contrast here is between the past war time and space and the girls' memories and reverie worlds. When this super-narrative time and space of the past as a memory in the film abandons the method of objectively narrating the lives of the five girls in the novel, it also naturally abandons the description in the original novel about the life of each girl. The inherent hardships, blandness, and injustice are replaced by subjective memories or reverie from a personal point of view, showing the happiest and most romantic moment in every girl's life-the moment of love, these two The contrast between the fates of time and space is shocking. At the same time, because the film uses a decisive visual factor - color, the meaning of this contrast is even stronger.
In order to reflect the ruthlessness of war, the past war time and space are completely expressed in black and white, while the other three time and space are displayed in expressive and lyrical colors, each time and space has a different main color. The peaceful life after the war is the most splendid color in these three time and space. At the same time, it also has a fiery red main color-fiery red maple leaves, the girl in a fiery red shirt, everything is so warm, so colorful and so rich. , the young people on the picnic were filled with a high, excited mood. The super-narrative time and space with pure white as the main color brought by the memories and reverie of the girls can be said to be the most wonderful passage in the whole film, especially in Lida's memory, white is a kind of surrealism. use. Everything is pure white -- the environment in which the girl lives, the girl herself, and the girl's dream. In this pure, dreamlike world, every girl is the most beautiful and charming, and even the ugliest Lisa and Galia become beauties. So every time, when we are suddenly pulled back to the wartime state from our memories, the contrast between the beautiful girl in the gentle village and the rough face eroded by the war in front of us reinforces the theme of the story again. The warrant officer's memories and imagination of the girls are based on the sassy and heroic appearance of the five girls in military uniforms, mainly in military green.
B. The audiovisual image of the character
We can take the example of warrior Lisa more specifically. In general, Lisa was not a very beautiful girl. In comparison, she looks more beautiful in her recollection shots, with long braids and red cheeks, especially when she wears a headscarf. But immediately after this close-up of this colorful flashback, cut back to the time and space of war in black and white, the close-up of her beside the wooden boat on the lake, with the short hair, pale face, broad face silhouette, makes her completely transformed It looks a bit ugly even. The connection of these two shots will cause a very strong reaction from the audience, "Ah, how can it be so ugly!" Here, the two shots of Lisa returning from memory to reality are not smooth editing methods, compared with the previous article. The cuckoo's call is a smooth editing technique. Since there is smoothness, of course there is not smoothness. This is a dialectical relationship. Blindly pursuing fluency without disregarding the requirements of content is at least a manifestation of poor audio-visual language knowledge and skills. But when she replied to the warrant officer, "This is a male duck calling a female duck", the camera chose her most beautiful profile, and the main light hit the back side, giving a sweet feeling. This is the kind of silent love that the writer is alluding to to the lieutenant. Lisa has never really confessed to the lieutenant, and her feelings are all hinted to the audience by the creator from the point of view. There are as many as four or five scenes in such scenes. Finally, when the dead Lisa came to the Warrant Officer's mind, the soft light cast her as a pure maiden, although her cheeks were pale, her lips were bloodless, and she wore the short hair she had left behind when she joined the army. These different images of Lisa all reflect the creator's attitude towards the character of Lisa in different situations, and we can clearly see that these images do not rely more on the performance of the actors (records on the screen). image), but rather the photographer’s use of light and angles and the artist’s makeup. This also explains the great difference between film performance and stage performance. In film and television, photography, art, recording, and editing all participate in the performance of actors. In the creation of Chinese film and television, the situation is quite the opposite. Therefore, when analyzing performances in foreign films, attention should be paid to the degree of participation of other factors. Surprisingly, some of our young photographers don't know that his camera should be actively involved in the actor's performance, they are simply recording the actor's performance. That's okay, and what's even scarier is that they're simply recording "that actor who talks is talking".
C. Visual themes
In the section of the bathhouse, the film directly shows the beautiful naked bodies of these girls, as described in the novel, especially Renia's body. Ranka, you are such a mermaid! ", "Ranka, your skin is transparent!" ", "Ranka, I can make a statue of you!" ", "Ranka, you don't have to wear a bra at all! ", "Oops, Ranka, I should send you to the exhibition!" In a glass cover, standing on black velvet..." And at the end of the film, it is this beautiful Renia whose body is gouged out by German fascist machine guns. Obviously, this performance fully reflects The theme of the film. But the fake Taoist gentlemen of feudalism can't understand it. They will scold the street when they see it. Of course, it is only done in public places for people to see, when no one...
2) The relationship between the five female warriors and the warrant officer - the visual character
director Rostowski's visual processing of the characters is quite delicate. He not only uses the characters' dialogues, but also uses many subtle visual factors to portray the characters and the characters. The relationship between them is often described in essays, which makes people feel very natural and credible.
For example, the warrant officer and Lida, Sonia, and Renya have respectively monitored Deko in the cracks of the stone. The ability to explain is strong. The audience will find and remember that Lida and the warrant officer kept a distance when they appeared between the two stones, and that the two of them respected each other from beginning to end. When Sonia Sonia was ordered to come, In order to find Deko, the two squeezed closer together between the stones and looked nervously. When Sonia raised her head a little higher, the warrant officer pushed her head down a little roughly. Although the warrant officer admired her very much her knowledge, but always thought she was a nerd and had no military knowledge, so she always seemed impatient with her clumsy movements. In contrast, when the warrant officer and five female warriors pretended to be lumberjacks, he ordered Jennie to cut wood. Ya and him went to monitor the enemy. After the two rushed behind a stone crevice, Renia casually pressed her cheek against the warrant officer's right arm and looked forward, while the warrant officer was obsessed with the enemy's situation and seemed unaware. In the relationship between the three female warriors and the warrant officer, we can feel the romantic character of Renia prominently.
Of course, the characterization of Renia's character is not limited to this. To stress again, film and television works first express everything through visible and audible means, including the relationship between characters. The audience must have something to see and something to hear. It's a stage play or a radio play that shows characters based on dialogue alone. Characters must have audio-visual characteristics, including character traits. Both Soviet and Hollywood productions are very clear about this. Take Renya in "The Dawns Here Are Quiet" as an example. Not only do we know from her memory passages that she is a bold and romantic girl, but also in the film. There are a series of details to express her character, such as she always likes to show her blond hair and her shapely, slender body (bath section); her military coat collar is often left unbuttoned ( Even in the flashbacks in color, and that detail was designed by the artist); unlike the other girls, when she sat down beside the warrant officer, she was next to him (see Analysis below); in addition, she also violated military regulations by wearing silk underwear. So in the last battle, when Lida was injured in the abdomen, the warrant officer ordered her to find a piece of underwear to use as a bandage, but what she brought was a silk undergarment that did not absorb water, the warrant officer took it and threw it away, standing Get up and find a bandage substitute yourself. This detail maintains a consistent portrayal of Renia's character. The camera can only capture the appearance, so the creator must find the accurate appearance, so that the audience can see the inner things under the surface from the appearance. The relationship between the warrant officer and Lisa is also very delicate. The things that happened at the station are so obvious that they don't need to be repeated. It is worth noting that in the sniper position, when the warrant officer visited Lisa's lookout point, the two were chatting, and we found that Lisa quietly lowered her eyes and glanced at her left sleeve, and then used a kind of cover up The action of tucking in the cuff of the white military shirt that was exposed outside the left cuff. At the same time, her eyes were fixed on the warrant officer, as if to prevent the warrant officer from seeing her movements. A girl in a military uniform has nothing to dress up, but in front of her beloved warrant officer, she still can't help but want to dress herself at least neatly. This kind of girl's mood aroused people's deep thinking about the war. As for the youngest Galia, the warrant officer saw her as a little girl. In the reserve position, when the warrant officer fed her the "potion", he didn't take any precautions at all. He patted her back lightly with his hands, covered her with his military coat, and stuffed her shoulders tightly.
In this way, we can see the different relationships between the five female warriors and the warrant officer, and because this relationship is expressed through visual actions, without the aid of dialogue, once captured by the audience, it will be memorable.
3) Camera accumulation
Because what appears on the screen is not the performance of a real person like on the stage, but the recording and restoration of light and sound waves performed by a real person, it is a sound image, an illusion of light, shadow and sound. Therefore, we They are also studied from the perspective of audiovisual language.
First of all, it should be clear that the role of camera accumulation is not limited to the performance of characters, but in "The Dawn is Quiet", it is most clearly manifested in the introduction of the character of the lieutenant. On the position, we can see from his actions that he is a very capable soldier with rich combat experience. At the same time, we also feel more and more that he has a good impression of Lisa, and is the selection standard of farmers. A working rural girl. He had great respect for Sonia because she could read poetry. He also had some feudal thoughts, and when Renia sat down to meet him, he immediately avoided it. Although he was meticulous in his requirements for these female warriors, he always believed that fighting was a man's business, and women should not fight, so when Sonia was the first to be killed by German devils, he was particularly distressed. Although he initially gave the impression of a dogmatic adherence to military doctrine, in battle, when Galia showed cowardice, he restrained the other two female fighters from criticizing her and instead managed to slowly educate her. She, keep her by his side, protect her, even if doing so increases his own danger. He was very forgiving of her, and he later told Lida and Renya that Galia had died heroically in a confrontation with the enemy. All of this is accumulated in the whole film, through the accumulation of the lens, only the scales and claws let the audience slowly observe the accumulation, and finally draw their own conclusions, and because of this, the image of the warrant officer has become a life-like image. The same flesh-and-blood characters, rather than labels representing a certain concept. The figurative record and the flexible and free space-time relationship make the accumulation of shots an extremely powerful means of expression in film and television.
There is a saying that, according to the appreciation habits of our nation, the identity, status, name and past of the characters should be clearly explained at the beginning of a narrative work. Up to now, some movie playwrights are still following this rule consciously or unintentionally, for fear that the audience will not understand or understand. "That was his aunt's house. His uncle's surname was Wang. After his father died, he went back to his aunt's house every summer vacation. He didn't pass the university entrance exam this year, and he was in a bad mood, so he went again. It's pitiful." No, there are two more words for this kind of dialogue. Ten minutes after the opening, the audience can go home, once and for all. In contrast, the introduction to the character of the lieutenant in "The Dawns Here Are Quiet" is worthy of reference by our playwrights, and it uses the feature of lens accumulation.
Initially, we only knew his name and rank, which seemed inevitable in the military. As for why this warrant officer did not go to the front during the Great Patriotic War, but stayed in a small remote village, we have no idea. All we know is that the artillery is under his control, and we see him inspecting the warehouse, which seems to be his job. After the arrival of the female anti-aircraft artillery, in a conflict between him and the platoon leader Kiryanova, the landlady was very dissatisfied with the platoon leader's sentence "You are hiding here, can you still command?", so she said that he had participated in the battle. (What kind of battle is unknown), he has won medals, was injured, and there are still fragments of shrapnel on his body that have not been taken out yet. Later, after shooting down the enemy plane, in a conversation between the warrant officer and the major, we learn that he dropped out of school when his father was crushed to death by a bear when he was in fourth grade, so he was more culturally than these female anti-aircraft gunners. Six years behind. As for what he did after he dropped out of school, that is what we know from their nagging when the landlady and another village woman were preparing for him before the team set off: he is the eldest son, after the death of his father It's all up to him to support the family, so he's learned to do everything. No one knew his age, the landlady said, and the girls called him old man.
In the scene where the landlady and the platoon leader are drinking tea, through the landlady's mouth, we know that he participated in the Soviet-Finnish war, his wife got into a relationship with a veterinarian in the regiment, and later took his son through the court. return. When the landlady talked about this, the creator arranged for the warrant officer to come into the house, interrupting their conversation. The landlady only had time to quietly add: "It's delivered to his mother." As for what happened to his son? The arrangement of the scene does not even induce any curiosity about the son's condition.
Interestingly, after this last sentence, after forty-nine minutes and thirty seconds of screen time, in the first sniper position, when Renya and Lida teased him if he had a wife and children , we learned that he once had a son, but "mother didn't take
good care of it". We can't help but admire the director's composure, and he has compressed a few sentences from the original. The original words were "Children? ... Had a young son. Died. Just before the outbreak of the war."
On the field, we know from the conversation between the warrant officer and Lisa that although he is not a native, he Wars have been fought in this area in the past. The life experience of the warrant officer is like this, and it is gradually revealed in a specific life situation, just like in life. Movies are not limited to time-space interlacing (as some people wrongly understand), but this time-space interlacing alone breaks the triad of time and space in drama. It can express an event very freely and flexibly according to the form of life.
4) Cinematic text language
A. Dialogue in audiovisual art
The language combining visual and auditory elements is a very prominent advantage of "The Dawn is Quiet", and it is especially worth learning by creators. The audio-visual language of the film is really completed by the combination of sight and hearing, that is to say, in such a language, if one of the factors is removed, the audience will not be able to understand it. For example, if we enjoy the film as a radio drama, we will never know a complete story. We don't know how Lisa died; we might even mistrust the Warrant Officer's statement about Galia's death - "Galia died in a gunfight with the enemy"; we don't know Jennie How Ya killed the first enemy and saved the warrant officer's life; we would wonder as the major why the warrant officer coughed loudly when talking to the major; how the warrant officer came to the swamp after diverting the enemy; how to find out Lisa died; how she met Lida and Genia; whether Lida committed suicide; how the warrant officer finally captured Deko; how many Dekos were there; how it ended;
Even the past of each female fighter is not entirely explained by dialogue. For example, based on dialogue alone, we only learn about Lida's past as a "heroic widow" whose husband died on June 24, 1941. But, in the scene of the air raid, why did Lida kill the parachuting German devil, an enemy who had lost his combat effectiveness? The writers didn't take the form of a radio play that had her say "I want revenge." Instead, she cut to a close-up of her colorful flashback of her husband turning back at the door after leaving home to go to the front lines after the war broke out. And the audience already knew that her husband has not been heard from since. This shot is actually Lida saying, "I want revenge." But it is deeper and more impactful than this sentence, because it is not like the words "I want revenge". Lida's ideological activities at that time were extremely restricted. This shot was connected with her happy family and their lovely children in the front section. Every viewer can think of many specific images from this shot. The scene that appears in this situation is richer and more free, which is not easy to achieve in words.
Another example, the warrant officer is ready for the female soldier to take a bath. When the female soldiers lined up to come to the bathhouse, the warrant officer was about to leave by boat. Unexpectedly, the female soldiers joked with him and even suggested that he go to the bath with them. The embarrassed warrant officer just pushed the boat into the water to get rid of the formidable girls, but he forgot to understand the ropes, so he couldn't push it. At this point, a sympathetic Lisa comes out to make a rescue. She said, "Don't do this, wait a minute." Then she started to untie the rope, and the female soldiers immediately followed suit, so she unbuttoned the rope and immediately got into the bathhouse. There is no information about this scene based on the dialogue alone. What exactly is "don't do this" is unclear without looking at the picture. It would be easy to add "your cables haven't been untied", as often done by "movie" writers who don't understand audiovisual language, but it would take
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