What are the artistic styles of movies? List the instructions one by one, thank you.

(1) Look at the light first, how the light of each shot is used, what changes have been made in the light of the next shot, whether the projection has changed, whether there is any change in day and night, and whether there is cloudy and rainy weather;

(2) whether there is any change in the size of the space, and whether there is any indoor and outdoor change in the large room and small room;

(3) Listen to the sound, whether it is the same period or the later period, whether each shot has sound space, what it looks like, and what changes have taken place in the sound space of the next shot;

(4) What is the background, what is the relationship with the prospect, and how to change (this is a perspective relationship);

(5) Whether there is movement, whether the subject in the picture is moving or whether the camera is moving, whether there is more horizontal movement (lateral movement) or more depth movement.

(6) Whether zoom is used, whether it accurately shows the relationship between two characters or causes the wrong relationship, whether zoom is used more or less, and whether new information or meaning is added by panning the lens;

(7) Pay attention to the dynamic-static relationship, that is, there is movement in the foreground without background, or there is movement in the background without prospect, or there is both foreground and background, or there is neither foreground nor background;

(8) Where is the editing point, what is the picture of the picture, and what is the picture of the left picture? If a person is running, pay attention to the human figure of the picture, what is the difference when watching it, whether it is more switching or overlapping.

(9) How are the characters in a shot arranged? Is there a stage treatment for the fourth wall (that is, the people in the camera are lined up to face the camera, just like sitting in rows in the kindergarten, eating fruit. ) the actor's solo performance also strives to face the fourth wall?

(10) Where is the music used? Do you have a theme song? Is it useful? The relationship between music and character action (or performance), music and camera movement, music and color change, music and dialogue mood and rhythm, music and natural sound (that is, noise) and so on.

(1 1) If it is a feature film, what is the turning point of the plot? Is it narration or dictation? If it's you, can you put this paragraph out silently?

(12) The relationship between people on the screen is changing, both changing and unchanging, such as always standing on the right side of B in the whole shot, but never going to the left side of B, and so on;

(13) Is the dialogue vivid or is it a stage accent? Is it smooth?

(14) What colors are worn by the characters in each shot, and what is the relationship between them, that is, whether there is color scheduling or not, that is, it is used as a flowing color;

(15) Are props accurate in time, region, nationality and culture?

(16) Is it reasonable to use flashback in time, and by what means?

(17) with a long lens? What's the longest shot? Do you think it is as long as it really is? What is the relationship between the characters in this long shot? All in the picture, or one in the picture and one out of the picture (not counting forehand/backhand).

(18) Is the voice matched with tenor, soprano, baritone, mezzo-soprano and bass?

(19) Is the close-up used as visual pressure in the plot?

(20) How is the sound and picture of the whole film combined? Are there any interesting places?

In addition, film and television review writing can be divided into several types, as follows:

The writing of impressionist film and television reviews is the description of the writer's subjective feelings and personal impressions of film and television works, and it is the most common and universal film review. Mainly depends on the individual's intuitive ability and sensory ability. Its characteristics are casual comments, keen observation, appropriate association and rich imagination.

Reflections on the writing of freehand reviews;

Who is the star of this film? What's the role? How was the performance?

Who is the founder? Who is the screenwriter, director, photography, editing and production company? Do they have any works familiar to other readers?

Do I like this job? Why?

What parts of the work left a deep impression on people? Why?

Did I catch the main content of my writing? Is there anything missing? Is my description of the film clear?

Am I biased against the actors, directors and themes in the film? If so, why? Tell the reasons for prejudice, which are well-founded.

Does my comment hold water? What aspects of the film can support my point of view? Are there any other materials that can prove my point?

What do I want to tell readers most? Did I make myself clear in the film review?

Form-oriented film and television review writing: the focus of the review is the formal structure of film and television works, mainly about the structure and style of the film, or the specific organizational form of the film narrative form. From deciding whether the organizational structure of the film is narrative or non-narrative, we can understand how the film is integrated into a whole. Analyze the form and style of film and television works and identify the skills used in the film. Find out the skill pattern of the whole film. Understand how the whole film systematically and modularly uses these technologies. In the whole film or a single clip, the use of skills or repetition or change, or in-depth development or parallel correspondence, are all parts that need attention. Find out the role of these important skills, that is, find out the role of style in the endless forms of movies. The direct way to tap the function is to pay attention to the effect of the film. Specific techniques play an important role in emphasizing, misleading, clarifying and strengthening the expression of the film.

Film and television critical writing oriented by "the author's theory": The basic belief of "the author's theory" is that film art is a tool for individual rather than mass expression, but it does not exclude that film and television creation is the result of a collective effort, but only points out that a major figure plays a decisive role in it. The value system foundation of "Author Theory" film criticism: whether personal style is presented in the whole film and television works. Focus on film and television creators with consistent theme awareness, application of film and television skills and audio-visual style.

Writing method:

From the comparison of a group of films, this paper points out the consistency of their styles and production themes, and then determines the main author behind the films.

Analyze a film and television work in detail to show its relationship with the author's theme and style.

Camera movement, composition, lighting, editing and recurring themes in works are very useful for analyzing the author's style and theme consciousness.

Starting point:

The author's life (social class, politics, education, professional training, etc.). ) have some influence on the theme of the film?

Does the author always use the same theme, or does he always make the same type of movies? Does the author have a preference for some film expression techniques (such as long shots, close-ups, big prospects, etc.)? )?

What is the personal mark of the author in the film?

Does the author always cooperate with the creators of certain films in each film? What's special about their cooperation? Whose author Mark is more outstanding?

Genre-oriented film and television criticism writing: it first evolved into a focus of film and television criticism in the field of film research from the late 1960s to the early 1970s. Starting point:

Is it possible to find some repetition of plots, characters, themes, scenes and dialogues to classify movies?

Does the genre of movies contain some social value?

How about the development of different types of movies? Have they changed in the historical process of genre film development? Is it declining or prosperous? What is the root cause of the change?

Does this film belong to a new genre? If so, why? Why not? What are the characteristics or characteristics of the new type?

What is the relationship between the formation of film types and history?

Background-oriented film and television review writing;

1, historical film and television review writing

One of the most widely used methods. Mainly use the history of film development and the social and historical image reflected by the film. They all put the film into the social and historical context of film and television development to examine its historical position and role.

2. The film and television commentary writing of social ideology orientation: It mainly analyzes the related concepts hidden in film and television works from the aspects of social and political consciousness, ethics, aesthetic orientation, social status and gender identity of male and female roles, attitudes towards different nationalities or races, and the influence of religion on social life.

Starting point:

What kind of theme information does the film want to tell the audience? Which of these information is explicit and which is implicit? What is the relationship between explicit reference and implicit reference and reality?

What is the spirit and value of movies? Which class or stratum do they represent?

Does this movie challenge the audience's beliefs, or does it happen to coincide?

Did the film create a certain cultural or value identity, and what techniques were used? Is there any nationality/nationalism or cultural aggression in this process? How are different genders/races presented in the film? Are the images they present in the film true or distorted?

What is the basic thinking mode used in the film? How does it work?

Does the world in the film present the real complexity of the world, or does it constantly imply some kind of values? What is the theoretical support behind this kind of values?