The Story of the Movie Part 4 March 25, 2018 Le voyage dans la lune (1902) George Méliès in "The Taste of Cherry: Abbas on Film" Abbas said: "If I do not believe One movie, and I lose touch with it." If the director no longer believes in his own film, there is no way to ask the audience to believe and like it. "Retracing the History of Films" We have used three articles to remember Lumiere's goodness, and also talked about the transformation of Lumiere's later business from film production to film equipment sales. Because in fact they think "movies have no future". When the Lumiere brothers stopped believing in movies, their journey in film history naturally came to an end. The baton will be handed over to those who believe in it, who have great enthusiasm and the ability to advance it (which we might simplistically describe as having interest, ability, and money), and film history will continue. Movies need to find new ways and new selling points to win back the audience. Audiences are fed up with movies just repeating their damn life, they don't know what they want to see, but they express what they don't want to see by not going to the cinema. Cinema looked like it was going to be a short-lived art in the early 20th century. George Méliès saved the movie. Now in hindsight, it seems that he was chosen, the most suitable one. He was invited by the father of the Lumiere brothers to watch the short films that marked the birth of the film at the Grand Cafe on December 28, 1895. He was one of the first audience members to be stunned by the "movie picture". He was 35 at the time, a magician and a theater owner. The inheritance of his father's shoe factory, the wealth of his wife's wealth when he got married, and the thriving business of running a theater have accumulated a fortune that he will use in his film career. Interested, capable and about to have technology. What a fantastic start to the story of Méliès who started his film career. But he has a sad ending: Méliès' slump in his later years (Martin Scorsese's "Hugo" "restores" him as a toy dealer at the station in his later years) marks film as collective art, It is also a money-burning art. ▲ Martin Scorsese's appearance in "Hugo" is still back to a happier beginning. Merry loves to save movies, and it was only after he stumbled upon stunt photography that his genius and creativity began to flow out. As mentioned earlier, the birth of film is full of chance, and the progress of film is often the same. During their repeated screenings of Lumiere's short film "Demolish the Wall", the content of the film was reversed due to a mechanical failure. In January 1986, they simply put the film upside down and turned the demolished wall into a built one, which surprised the audience for a while. It's just that this "special effect" is not born in the production stage of the film, and cannot be called special effects in the strict sense. The first special effects shot in film history was born in the shooting accident of Méliès. Georges Sadour later called Méliès's victory the stage director's victory over Lumiere-like outdoor photography. But it is somewhat ironic that Méliès discovered his magic weapon in the future: stunt photography, not in the studio, but in the outdoors, which belongs to Lumiere's expertise. In fact, before Méliès became "Mélière", he was just a follower of Lumiere, and he remade many Lumiere films. One time, when a film shot from the Opera Square was filmed and screened, the stagecoach in the camera ran and turned into a carriage for transporting a coffin. It turned out that the film was stuck during the shooting, and the camera was still running, and the hearse just ran to the position of the bus in front of the "cassette". This accidental accident made Méliès gain the important sign that he has since led the film to the road of drama. When I was rewatching A Trip to the Moon, I witnessed, with unprecedented clarity, the techniques including the above-mentioned recapture, with this color restoration, which premiered at Cannes in 2011 to commemorate the 150th anniversary of Méliès's birth. show. Compared to the simple Lumiere, Méliès is really a techie. Including the mentioned methods of stopping and re-shooting, adding overlapping shadows, and fading in and out, compared to the stories that are a bit vulgar because we are too familiar with them, these technical means are so "important" that they have surpassed the story itself. . In Méliès' films, we might even call these special effects an end, not just a means to the content, they are part of the spectacle itself. Griffith, who Godard called the beginning of the film, said after watching "A Journey to the Moon": "Everything that Méliès invented". This is not to say that all cinematic techniques were invented by Méliès alone, but I am afraid it mainly means that Méliès was the "master" of cinematic techniques at this point in the early 20th century. In fact, coupled with the setup of the studio, the use of natural light sources, sets, makeup, directing actors' performances, and controlling the shooting budget, etc., now Most of the elements that the film needs to involve are almost available in Méliès' films. In this sense, it is possible to understand what Griffith said: I belong to Méliès. But audiences don't go into theaters simply because of these technologies. What attracts them is that Méliès will offer them a story that is different from everyday life. Movies need magical spectacles, they need magical visions. What is more exciting than a story from God? "Moon Landing" is more than half a century earlier in the film than in reality. What cannot happen in reality, starting from Méliès, will be provided to you by the film. Watching "Journey to the Moon", when I saw the "right eye" of the moon where the shell that was on the mission to land on the moon was in the middle of the moon, even though I had witnessed this scene many times in different scenarios, I still felt a lot of waves in my heart. Because this is really a very moment in the history of film. The film records reality from Lumiere, and within a few years, it can take a leap into the air, allowing human beings to "float" to realize their dreams and daydreams. From then on the films are divided into reality, like Lumiere films, or fantasy, like Méliès. In the film history of more than 100 years, although there are many films that are "hard to tell" in the later period, film directors have found two endpoints of their efforts: open their eyes to touch reality, or close their eyes and make the movie a reality. finished dream. Méliès finds a way of fulfillment between film and fantasy: introducing drama, making story a bridge to fantasy. Méliès is also regarded as the originator of feature films. In the future, we will be immersed in the illusory dreamland brought by the movie in the huge dream-making engine of the Hollywood DreamWorks, and all this comes from Méliès. "Journey to the Moon" allowed Méliès to enter the peak of his film career, just as we remember the key word in Mark Cousins' "Film Story": "innovation". Once the innovation is over, the director often disappears into the center of the stage as the film history continues to advance. When Méliès kept repeating his self-imposed comedy mode in the future, and stubbornly not partnering with others, when EMI film company rose and entered the "EMI period" in film history, Méliès began to face the film career. the predicament. He first mortgaged the studio and theater to EMI as a last-ditch effort. I took a group of people to the Pacific Ocean to shoot a film, but because the box containing the film was not sealed with wax, the film became moldy and could not be used. Méliès suffered a fatal blow and went bankrupt, ending his film career. ▲Meiliai was helped by Mo Kelai in his later years. This is really a sad ending: In 1928, a news reporter discovered that this over sixty-year-old film tycoon and millionaire was selling toys at the station of Montparnasse. Yes, it is the demolished station that the 2014 Nobel Prize winner for literature, French writer Modiano, once commemorated with words affectionately. Stations can be demolished, but fortunately human memory can sometimes be sturdy. Sadur's "World Film History" recounts that after people discovered the down-and-out Mélière, they first called him "film predecessor and poet" in the newspapers, then prepared a sumptuous banquet and presented him with medals, and finally sent him to him. in a nursing home in Austria until his death. This is also a comfort and warmth in the disappointment. After watching "A Journey to the Moon", I would think, if Méliès lived to this day and saw that Hollywood has conquered the world today, he still used his dream tricks and magician tricks, how would he feel? Regardless of whether I prefer one or the other, I express my own attitude with the length (after all, there are three Lumiere articles). But for Méliès, I think he will laugh with joy. A tech party sees the rapid changes in technology, and the immersion that creates the fantasy is still deepening. Sometimes the fantasy in the movie is "real" as if the reality is fake. Same. And all this, the beginning of the movie dream comes from Méliès. Section 1 The New Technology of Heart-wrenching (1895-1903) 1 Lumiere! The Adventure Begins Lumière! L'aventure commence (2016), Thierry Fomer 2 Going to the movies: Louis Lumière (1968), Eric Rohmer 3 Lumière and the Forty Directors Lumière et compagnie (1996), co-director 4 Le voyage dans la lune (1902), Georges Mélière 5 Gaumont Treasures: Alice Guy (1897 - 1913) (2009 ) Alice Guy 6 Short Films of Brighton School Brighton, George Albert Smith and other public accounts: Dong Feiyu Image View·
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