1. Large-frame multi-line narrative: mainly modern stories and Babylonian stories, followed by French stories, Jesus stories occasionally echoing themes and interspersed in parallel with thematic events such as jealousy, love, marriage, and battle for death; the first three The narrative leading characters of the story are all women. Each story is centered on the core character and unfolds concentrically along the experiences and events of the core character. The rich manifestations in different
eras have deepened the breadth of the motif, just like the comparison between current life and historical documentaries in "Mirror" in later generations The four lines of cuteness and youth meet in parallel, and gradually reach the dramatic climax
. 3. At the end, the four story lines are parallel, and the themes intersect. The techniques of 1. and 2. above are combined to achieve the dramatic and emotional peak of the whole movie.
Time and space processing techniques:
1. Pass Relevant themes and emotions are crossed in time and space, and events (such as killing the boss) and character relationships (such as watching children) are blended with characters in different spaces within a single story; such as 1:16 cute watching children, using the family relationship and perspective of the three people. Young people in prison with viewpoints interspersed in
another
space The era uses different backgrounds and differentiated
spaces and pictures under the same technique:
1. The scenes are rich in different camera positions, interspersed with panoramic and mid-level shots, the panorama accounts for the characters in the environment, and the multi-camera space expands the performance space. The mid-level shots give the characters more delicate expressions and actions Performance (the dance scene starting from 4 minutes); precise use of close-ups (2 hours and 10 minutes, close-up of cute face and hands), using film language to enhance the
appeal Narrative performance of the camera lens, 2 hours and 44 minutes, the scene of the hanging room, first is the panoramic space figure, and then follows the action of the news character, cuts to the communication between him and the commanding officer, and then gives a close-up view of the young man hanging, which is equivalent to giving Create a picture, and then zoom in on the details of a certain part of the picture later;
3. In the same way, some pictures can also achieve the effect of guiding the attention of the viewers by masking the screen without changing the camera position. For example, at 1 hour and 11 minutes, through the emphasis on the statues on both sides of the screen, the priests and kings are highlighted one by one. The frame is emphasized; for example, in the place of the girl and the pigeon in the mountains (2:42), the content of the picture gradually shows from the girl's face to the pigeon, the movement in the picture, the richness of information and symbols, and one shot expresses rich emotions and meanings; and The overlapping of the cross in the foreground at 55 and Jesus, the layers and the information of the picture
are richly conveyed , the camera at the 23rd point of the camera moves with the character and moves the cute face at 2:13, and the light and dark, a series of lifts and push-pull shakes starting at 1:44 of the mood and atmosphere , the use of camera scheduling in large scenes Enriching visual changes and information 1:21 Moves and covers up close-ups, expresses the psychology of characters with lens language, and allows viewers to substitute for emotional editing 2:30 The train chase and the girl in the forest are chased in parallel, two groups of parallel editing of the chase in different time and space , Double the speed of movement and tension , telephone command, conflict scene, both sides, bystanders, Xiaokai's reaction, multi-faceted description of the use of the 1-hour exchange and reaction shots between Xiaojiao and the youth, the scheduling of actors, the probe's rhythm processing (siege scene): through Sacrifice, princess and other aspects are displayed and repeated (behavior and scene) to strengthen the portrayal of tension, characterization and relationship:
Use the details of the character's behavior to describe the psychology and the performance of the atmosphere, etc. 2:26 The hesitant
details when hiding the child describe the characters (character, characteristics, etc.), 18 points to pick up the money, the relationship between the
characters , pay attention to the foreshadowing: the foreshadowing of the 57th point is also There are transformation details
The setting and use of three auxiliary characters: the mistress of the leader in the modern story, for a later wrongful conviction; the priest's assistant in the Babylonian story, who joins the army and tracks the priest for the girl in the forest; the mercenary in the French story , to strengthen the contagion for the subsequent death of the girl. In a series of plot lines of each story, when the story needs to be pushed in a dramatic direction, the penetration of auxiliary characters achieves more persuasive realism and visual sense, and expands the thickness of the text.
Dramatic tension, grasping the audience's psychological feelings:
create misunderstandings to promote the development of the plot, let the audience's emotions substitute, 1:18 and 2:07 grab the child's
appetite, use inhibition (create obstacles) to strengthen and stimulate the audience's emotions, use The multi-line narrative gives the audience an omniscient perspective to worry and empathize for the characters, establish an emotional relationship between the audience and the characters, and then use the audience's expectations to compensate for the satisfaction through several dissatisfactions, and
the tension generated by the contrast at the end of several stories , unwitting celebrations and disasters to come (end of Babylonian story)
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