In "Jaws", it is obvious that you can feel a different temperament from the old movies. This taste is very similar to the popcorn commercials in today's movie theaters. Although it is a 1975 work, after restoration, you and me I believe it was taken in 2010. I think this earth-shaking difference is reflected in the following aspects.
1. Performing skills of actors in different styles. It can be clearly found that the facial expressions of several actors in the movie are very rich, and their body movements are more complex and flexible. Compared with the characters in Hitchcock's classic movies, it is like the difference between 3D and 2D, so they look more "realistic". "
2. More modern clothing design, many entertainment films in recent years, the clothing is relatively bright, in line with the current people's trend
3. The development of the film industry is a technical problem, more refined photographic quality, realistic (dazzling) special effects, more detailed lighting and sound
4. Intensive lines. I think the lines are a very crucial factor, and the lines can drive the rhythm of the film. When watching a movie, the audience spends almost half of their time watching the subtitles. If the highlights of the lines are presented faster, and the sound of drums is added, it can drive emotions. I watched "The Romance of the Jade Girl" before. I felt that after a two-hour movie, I felt that after a night, I benefited from the chain of lines, fast and not complicated, and a big laugh, just like a roller coaster. Most other old movies speak much slower, and often scene scheduling is prioritized
5. Much faster editing rhythm, "walking and talking" follow-up photography, as well as a lot of mid-range, close-up, and panoramic framing styles. I think this is the most important point, which originated in television. In order to cater to the popular TV culture at the time, the director had to add close-up shots, even focusing on close-ups, to adapt to the small screen of the TV so that the audience can see clearly, while the processing methods of intent to show details such as deep focus photography are useless. NS. On the other hand, the audience usually faces a small TV watching a movie at home, and is never as quiet and attentive as in a theater. Therefore, the director must continue to bring back the audience who is ready for intermission to the story. At this time, the strong expression of emotions and plot The back and forth response is essential. This can also explain why the lines are too few but not too many
6. These movies usually come from Hollywood, so a large budget and box office goals are essential. The commercial nature determines its intention to attract audiences.
7. In these movies, the characters usually have a more distinct personality, conveying distinct values, extreme good and evil, or moral ambiguity often appear, that is, "personal design"
8. Scenes of modern life, familiar scenes, and a huge number of group performances are always full of pictures
9. Use of contemporary terrier
10. I found that the narrative rhythm of the great white shark is very routine, almost alternating between strong and weak, and then fff at the end of fpfpfp
11. The screen is more dynamic and the colors are more colorful. The presentation of details can enrich the performance of the actors and weaken the role of the scene. Therefore, even if the audience does not notice the director's skills, it will not hinder the understanding of the plot and the expression of emotions.
12. In the end, we think this style is very familiar, because the style created by Spey was repeatedly imitated by later commercial directors. As a result, we can see such routines everywhere around us. Most of the movies we have been exposed to since childhood are or More or less affected by this kind of influence, needless to say its influence
Let's talk about this director. His format is quite innovative, and he has made a lot of money in the box office around the world. Spielberg's films can basically be divided into two categories (which he himself recognizes), with more directors' work and more novel films. I've seen his number one player, Schindler's list, and Jaws. I haven't watched a few, so I won't summarize the film. I found that the director has a habit of always copying things from his predecessors no matter the plot, setting or shooting skills. For example, the great white shark's display of sheriff's fear is to apply Hitchcock's moving zoom lens. The top player is purely a stack of easter eggs, and what is missing is the in-depth discussion of similar scenes. The play looks very mediocre, like playing a game, satisfying and empty, it is really great special effects. These two are the second of the two properly. Schindler is obviously the first one, with meticulous lighting, skilled and crisp editing, and grand scenes. I think this is really a film. Film needs style. No matter how skilled the technique is, it will not be remembered if there is no innovation. The so-called innovation I think the most reasonable way is to incorporate technology into expression, not to appear deliberate, but to think about how to schedule and shoot from the perspective of storytelling. The technology, content, and mood of the film are integrated, and a wonderful chorus. If you are like a great white shark, you can just show off your skills, it's actually very blunt, including the narrative rhythm. This kind of technical discord directly caused the film to be outdated soon, just like "Men in Black". The movie is not about bridges, but about the overall style. It’s a pity that I remember seeing Spey’s examples of two kinds of movies in the history of film. In the early movies, the few who devoted their directorial skills were not well-known. It was the work that led the box office at that time. Let’s look at the masters of film history. They are called masters, such as Bunuel, Chaplin, Truffau, Hitchcock, Tarkovsky, Fellini, Antonioni, Akira Kurosawa. Wait for a bunch of people, all of them shine in a memorable style. These people cannot simply be classified as art films, commercial films, genre films (which one), these people are these people, their names are their style and type, they are unique and cannot be copied. Let’s not talk about the close ones, Quentin, David Lynch, Martin Scorsese, Anzhe, these people have their own aesthetics, that is a set of systems. Seeing a work, you can immediately recognize who it belongs to. Style is by no means equal to self-imitation, and taking all fields does not represent the history of Guan Jueying. Schindler’s list can only be said that the director’s skills are so good that every shot is worth writing in college students’ textbooks, but whether his style is enough to affect future generations, or that, after fifty years
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