The gentle male voice narrates a fly, two cups, an old man who has attended a funeral, and the birth of Amelia - unrelated events grouped together, wonderful elements and implicit dramatic arrangements - It's like a storyteller with a good voice, dismembering and integrating a fairy tale with beautiful pictures and scheduling of perspectives, talking to our group of "children" nesting in the sofa.
The following passages (1:21:50～1:23:36) of the encounter between Amy and a mysterious man are used to reveal the use of shots and editing behind the magical effect and fairy tale texture of the film.
Flexible Scheduling
of the Lenses Amelie sees the posters - rapid lens movements reveal two opposing objects, dazzling and exciting. It's similar to the performance of "Looking for the Robbery".
Such large-scale camera movements appear frequently throughout the film, such as Amelie throwing stones at the waterfall, Nino chasing people, and the extraordinary scheduling of the camera's up and down, distance, speed, etc., almost reaching a thrilling level. The heart is ups and downs, and the whole experience is like sitting on a roller coaster that slows down slightly. The speed and angle are all for a better look and feel. Also, in the scene where Amelie was flipping through the album, the camera first moved down across the roof, moved to a wide angle that was very close to the ground, began to push closer to the protagonist, started to rotate around her from the front, raised and shot her and the album from behind. , the whole process is completed in one go. In this way, the panorama plus the close-up plus the angle change, the performance of a complete long shot is like the subjective perspective of a flying elf.
Introducing Susan is a long walk through the bar with the camera, introducing Yip Litu and the camera quickly moves from the front to the side of drinking red wine, and introducing Joseph, the camera moves down to pinching plastic bag bubbles - rich camera movements, Full of surprises. In the ghost train section, the telephoto ghost train logo first appeared, and immediately moved down to a close-up view of her feet. Amelia began to squat down to pick up stones. As she got up and blew the dust, the camera shot up, to reflect her preference for water scouring. The small details are very interesting.
In addition, the arc rotation of the lens is used many times, and the fusion of the rotation and the subjective lens is very pleasing to the illusion. Nino followed the arrow to the statue, and as the arrow moved the camera, the camera swayed slightly and accompanied by the male protagonist's gasping sound. It felt like the progress of the subjective camera, and the camera continued to rotate around the statue. Turn to a certain angle and reveal the protagonist. This subjective shot becomes a wonderful illusion. The audience looks at another world through the camera, and the camera changes the angle to show this world, and the two are in a battle of wits and courage. Audiences experience the world in this image by figuring out the camera. When the camera rotates and suddenly presents a surprise that is different from what they expected, they are exhilarated.
This method has appeared several times. Such as the first time I met Nino, Amy and the old man's explanation. As well as taking the subway to see the statue, rotating the angle of view very quickly, shaking, looking up, and opening, it is very symbolic.
The flexible lens scheduling of large groups makes the language of the shots more fluent, and there is no need to use multiple fixed sub-shots to express and explain them separately; it also produces a unique sense of visual impact, which indeed has the exaggerated and magical fun of fairy tales.
Transitioning from Objects
In this passage, the two cues explicitly indicate the temporal identity through the narration, bridging the rapid transition of space. In actual editing, the first shot is the scene to transition. Such as turning chairs, parking, clocks here. These bizarre objects represent the director's endless stream of wonderful ideas.
The more magical transition in this film is to compress the time structure through montage, which is coherent and dramatic. An example of this is when Nino lifts his head, and the next shot takes the merry-go-round. After that, the camera rises to an overhead shot, and the field of view expands. Nino is already driving away on a bicycle, and Amelie is smiling at the camera.
Another example is the scene of discovering the Baituodu box, taking the box, opening it, etc., all of which are switching between two angle lenses, which is relatively common. But then the transition when the TV is turned off is a magical feeling - holding the remote control, the next picture is the TV screen playing, and then it is turned off as snowflakes, and the turned off TV screen is hidden, Amelie is already lying on the bed, the camera Begins spinning to show her state of thinking. The use of TV screens to transition scenes has also appeared many times. This is adding another image world to the image world, creating a tension between the virtual and the real.
There is a transition that greatly compresses time, which is quite impressive. Susan said, "You have a boyfriend?" "Whiteness map." Aimee close-up. Then it is to ring the doorbell of Baidutu's house.
The narrator tells
that after seeing the poster, Amelia is going to take a photo. In this case, use the narration to describe the different things Amelia and a man in red shoes do at the same time.
The first feeling is like the trick at the beginning, accumulating editing, highly stylized, full of interest, symbolism and metaphor also leave the audience a rich space for association. But here it goes a step further, and the two lines meet in the same space.
There is also an introduction to the likes and dislikes of each character that clearly indicates the logic between the images with the narration. Similar to "Lola Run", when encountering a character, a "background link" will flash, which infinitely expands the time and space in the progress of the story, which is a major feature.
Red Shoe Man's face
Amelie sees the Red Shoe Man's face, the lightning bolt-like effect at the station, and the overlay of the face and the photo collage. The imagination and reality are powerfully expressed with real pictures, and it is difficult to distinguish the true from the false. Personally, I like this kind of cranky thinking as if it were real. The photos are torn up, and the pieces with the nose have the taste of police and gangster movies and sci-fi movies.
The real presentation of the imagination directly reflects the fantasy of the film. For example, the vegetative person gets up and talks; what is broadcast on TV becomes the line praising Aimee and "there are too many nosy things downstairs". At first, I didn't understand the reason. He was blinded by the reality of the image in the image; he took out the key, and "Zorro" appeared in the reverse shot. This is the cuteness of Xiao Aimei, she was talking about her "heroic"; colleague Nino spoke At the time, the background becomes a cement-printed photo album and the exhibition is unfolding. Generally, the film is not so funny... These are all the content of the words or the inner activities of the characters are expressed through specific and vivid images.
The longest paragraph is when Amelie speculates on the reason why Nino did not come, bank interception, car accident, old liar, guerrillas, Russia... The video data of the predecessors, adding the fragment with Nino as the protagonist, a strong montage effect, showing the crankiness of love beauty. It can also be regarded as a kind of postmodern deconstruction, which intercepts old movies and documentaries to assemble them and gives them new meanings.
The use of computers has brought more tools to editing, such as the flash of keys in the pocket and the red circle on the sperm, which are all surreal. Computer editing makes scenes like cutting and pasting letters fun.
It should be said that with interesting elements and individual lens language and editing techniques, this film presents the audience with magical and beautiful surprises, as well as the pure and beautiful texture of fairy tales. But personally I like the scene of helping the old man to cross the road. At this moment, I really feel that Amelia is an angel. The trivial life is so delicate, warm and textured under the camera, and everything is going on beautifully.
Note: Sophomore Lu Ye's TV editing class
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