One, a unique voice-over. The film makes full use of the voice-over as the main means of retelling the original text of the novel. However, it is not used to explain events or inner monologues, but to retell the original text in the original way, as if the complete marble brought directly from the stone field is not the hero's memory of the past, but The diary excerpts are read in a neutral tone, not to rewrite the conversations the pastor recounted into dialogues, but to try to obliterate the rhythm and balance of the original dialogues in the novel, and to bury them in the deliberately pursued smooth recitation, thus Create a sense of transcendence.
Second, the deliberate pursuit of literary. In the original novel, vivid, textured, concrete and clear visual materials are everywhere, for example, the middle paragraph of the novel: "The three or four hares that were hunted just now were piled up at the bottom of the basket, with gray rabbit fur and bloody mud sticking together. It looked creepy. He hung his hunting bag on the wall, and when he spoke to me, I saw a wet eyeball in the raised pile of hair through the hole in the little basket Staring at me, it seems very gentle." The film does the opposite: instead of a strong image description, it adopts a language with a strong "literary flavor", and the specific image of the film is not as good as that of the novel. The power of words to appeal to ideas certainly exceeds that of images.
3. Dilute the performance. The film does not require actors to perform a line, or even to experience the connotation of the lines, but only requires scripting. This kind of treatment not only goes against the norm of theatrical performance, but also contradicts various conventions of psychological expression. For example, only the flickering of light and shadow is used to present the hazy face of the heroine Chandar in the confessional room, without the usual performance, without the instantaneous response of the actor's face to the situation, but with normality, which is a cohesive form of pain caused by inner conflict. If so, the facial expressions of the characters are sublimated into symbols of consciousness.
Fourth, the mobile lens is fully paid for. Moving the shop head, as one of the common film methods, allows the audience to get close to the subject, become an active participant in the event, and identify with the characters. The film eliminates moving shots, which reduces the factors that seduce the audience to identify and strengthens the space for calm thinking. Identify with the character. The film removes the mobile five to purify the space. The environment is codified as a vision of finite element texture. Jian Zang's Xiaosheng. The quiet streets and clean churches are the main space of the film, and even the earl's mansion is limited to the interior. The meal piece abandons the clutter and gorgeousness, and creates a quiet space for sneaking into the soul of people.
6. The audio and video are separated, or the Japanese video and audio are parallel. The film breaks through the convention that images and sounds should not be used repeatedly. The most moving moments of the film are precisely the passages in which words and images describe the same thing. In the film, "The expression of sound is not used to fill in the events represented by the images, but the rendering and expansion of the events, like the sound box of a violin strengthening the vibrato of the strings" (Bazin). It is probably futile to look for breathtaking beauty only from the visible content of the images. The aesthetic uniqueness of this film lies in the fact that starting from the image and corresponding to the sound, the relationship between the image and the text gradually develops, until the text finally plays a more prominent role than the image. At the end of the film, the image disappears from the screen, and a black cross appears on the white screen, the only visible language symbol left on the screen. André Bazin exclaimed: "We experience a wonderful pure cinematic excellence through this irrefutable aesthetic instance - where the empty, the pictureless, give way entirely to The screen of literature marks the foot of film realism--with the advent of "The Diary of a Country Priest", the film adaptation has entered a new stage!" French film theorist Lepierre said: This is "movie and literature from thought To the first film that expresses unique artistry equally in form".
——Cui Junyan, "The Diary of a Village Priest: A Filmic Exploration of Literary Adaptation"
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