What are the similarities and differences between montage and long lens? (high score! ! ! )- -! ! ! ! ￥# #￥%￥%

First, the concept of montage

(A), the basic meaning of montage

1, origin

Montage, transliteration of French montage. Originally, it was an architectural term, meaning composition, assembly, and borrowed from film art to mean combination and composition. It was first borrowed from louis delluc to movies, and now it has become a worldwide movie term.

2. Universal

It means that in film creation, according to the needs of the theme, the development of the plot and the psychology of the audience, the content of the film is broken down into different paragraphs, scenes and shots, and shot separately. Then, according to the original creative idea, these shots, scenes and paragraphs are logically and rhythmically recombined by using artistic skills to form a continuous organic art whole. This artistic method of creating movies is called montage.

3. Narrow sense

Montage refers to the rhetorical devices or techniques of the film language symbol system. As the basic structural means and narrative mode of the film, it includes all the artistic skills of the arrangement and combination of shots, scenes and paragraphs, and then includes the specific skills and techniques of film editing. Among them, the most basic meaning is picture combination, that is, the arrangement and combination of lens, picture, sound, color and other elements in post-production.

(B) the basic principles of montage

1. The psychological basis of montage

One of the ways for human beings to observe and understand the world is to see or think by splitting and jumping. The research results of psychology show that people's visual attention will focus on different spatial ranges in turn, and people's eyes will always shift their eyes and observe the world from different angles. Lenovo can evoke memories of the past and imagination of the future at the same time. It is a psychological bridge between the front and back shots in the montage structure and can communicate with the picture. By evoking memories and inspiring imagination, the audience can be induced to realize artistic thinking from analysis to synthesis and from part to whole in the montage structure.

2. The aesthetic principle of montage

Montage follows the aesthetic principle that art reflects reality. Montage is the reorganization of real life materials. Through selection, refinement, generalization and processing, it is aesthetic and conforms to the creator's own thoughts, feelings, attitudes and creative intentions. This is a universal aesthetic principle.

Second, the type of montage

(A) narrative montage

Narrative montage, initiated by American director Griffith, is the most commonly used narrative method in movies. The purpose is to explain the events of the plot, and according to the time flow and causal relationship of the plot development, the combination shots, scenes and paragraphs are cut, so as to guide the audience to understand the plot. This montage is logical and easy to understand.

1, linear montage

That is, along a single plot clue, according to the logical order of events, a continuous and rhythmic narrative is carried out.

2. Parallel montage

Refers to the juxtaposition of two or more plot clues (different time and space, different time and place or the same time and place), which are described separately and unified in a complete plot structure, or several seemingly unrelated plots or events are interlaced and unified in the same theme.

Step 3 cross montage

Also known as "alternate montage", it developed from parallel montage. These two techniques are often used together and are called "parallel cross montage".

Compared with parallel montage, cross montage is characterized by the fact that two or more clues go hand in hand at the same time, and there is a close causal relationship between them, which is interdependent and promotes each other, develops rapidly, alternates frequently and finally merges together.

Step 4 repeat montage

Also known as "circular montage". It refers to the repeated appearance of shots or scenes representing a certain meaning or even various elements in the film at critical moments, which produces artistic effects such as emphasis, contrast, echo and rendering, and deepens the audience's impression. It includes two aspects: content and form. This technique is easy to produce a sense of rhythm and is conducive to the structural integrity of the film.

(2) Performing montage

Based on the juxtaposition of shots, it produces a kind of rich meaning that a single shot does not have through the mutual contrast and impact of shots connected or overlapped in form or content, thus expressing some emotion, psychology or thought, causing psychological impact to the audience, stimulating the audience's association and enlightening the audience's thinking. The purpose of montage is not to describe the plot, but to express emotion, express implication and reveal meaning.

1, contrast montage

Through the lens (or scenes, paragraphs) in the content of strong contrast (such as poverty and wealth, bitterness and joy, life and death, noble and low, etc.). ) or form (such as the size of the scene, the cold and warm shades of colors, the brightness of light, the strength of sound, and the movement) produce mutual emphasis and conflict, thus highlighting the creator's certain meaning or strengthening the expressed ideological content.

2. Metaphorical montage

Equivalent to literary metaphor. That is, through the analogy of the lens or scene, it implicitly and vividly expresses some moral of the creator or some emotional color of the event. Its main point is to highlight some similar characteristics between different things in analogy, so as to arouse the audience's association and understand the moral and emotional color.

3. Psychological montage

This is an important means of psychological description of characters. It vividly shows the spiritual world of the characters, such as dreams, memories, flashes, hallucinations, daydreams and so on. Through the combination of lenses or the organic combination of sound and painting. It is characterized by the fragmentation of sound and painting image, the discontinuity of narrative and the jumping of rhythm. Therefore, juxtaposition, crossing and interleaving are used in editing, and the subjective colors of sound and painting image are rich. This technique is widely used in modern movies.

4. Lyric montage

Through the combination of pictures, the artistic conception is created, and the development of the plot is poetic, so it is also called "poetic montage".

Third, the concept of long lens

(A) the basic concept of long lens

1. What is a long lens?

The so-called "long lens" refers to a lens in which the film of a single lens exceeds17m or lasts for 30 seconds. That is to say, through the scheduling of actors and scenes and the movement of the lens (push, pull, shake, move, etc. ), forming various scenes and compositions on the screen. It uses a lens picture that is basically equivalent to the actual time and space to represent the whole process of the subject.

2. The emergence and development of long shots.

The earliest system of long lens theory appeared in the 1950s. Influenced by the Italian neo-realistic film movement and the appearance of zoom lens and hand-held camera, multi-scene and multi-angle techniques have been widely used by artists, and the long lens has been further developed. Thus, the "long lens theory" system represented by andre bazan came into being.

(B) the aesthetic characteristics of long lens and its application

1, aesthetic characteristics of long lens

The appearance of long lens is not only the development of photography skills, but also has outstanding film aesthetic value. As a means of expression, long shots have been popular in film creation long before Bazin, but Bazin does not only regard long shots as a means of expression or skill, but understands them from their aesthetic value. The core and essence of Bazin's aesthetic system of long-shot film theory is to emphasize that the characteristics of the film are its photography, or documentary and recording. Bazin put forward the viewpoint that film is the "asymptote" of reality, which means that film does not let reality appear directly on the screen, but "keeps approaching reality and always attaches to it".

2. The use of long lenses

As an artistic expression, the biggest function of long lens is to record the reality realistically-nature, life and emotion. Therefore, the use of long shots in movies can maintain the overall effect and maintain the integrity and unity of plot space and time; It can faithfully and completely reproduce the real image and increase the credibility, persuasiveness and appeal of the film; It can also render the atmosphere and express the psychological activities of the characters.

① Application of documentary long lens

It should be said that documentary long shots have more room to play in newsreels and documentaries with documentary as their mission.

(2) The use of long shots in scene scheduling.

The scene scheduling long lens reflects and emphasizes the ideological significance stipulated by the creator for this lens through the changes of carefully set scenery, scene, character movements, composition, light and shadow, color and other modeling factors. In fact, it is a multi-scene shooting in one breath, so it is also called a long lens, and there is a montage in the lens.

Fourth, seamless editing.

What is seamless editing?

With the participation of digital technology, many joints between frames and shots are cancelled, thus creating a new transition mode. Digital technology can decompose different components of an image, shoot them separately, and then combine these separately shot image components organically and randomly according to people's wishes to form a seamless film image shot with a single lens.

(B) the use of seamless editing

1. Imitate the invisible movement trend.

2. Show the infinite extension of time and space.

3. Construct dreamlike movements into realistic natural forms.

(C) the meaning of "seamless editing"

1, narrative significance

As far as the lens narrative function of the film is concerned, no matter how complicated the story is, it can now be completed by a "super" long lens generated by digital imaging technology without any traces of interruption. Under such technical means, the meaning of the connection between lenses will be dissolved without a trace.

2. Aesthetic significance

Compared with traditional film and television shots, the shots made by digital special effects almost all point to the deep desires of human subconscious: peeping, exploring the unknown world, challenging the limits, eternal life and so on.

Foreign film theory part

First, the development of film theory

A summary of views in the 1980s: classical and modern theories (around the 1920s-1970s);

Classics: traditional aesthetics is used to express movies, and works are divorced from social background. The theme of the study is-Is film art? The relationship between film and other arts;

Modernity: the integration of semiotics, psychoanalysis and Marxism: the theme of the study is-Is film a language? What is the relationship between audience and image?

Shao concluded: ※:

1 and before 1930s, it was called early film theory;

2. From 1930s to before World War II;

3. After World War II and before 1960s;

4.60 years later;

(In fact, it was a classic 60 years ago, and it is modern 60 years later)

1996, Baldwell and Carroll proposed that modern theories can be divided into two types: (see post-theory-reconstructing film research). ※

1, 60 ~ 70 years of discipline position theory; The main contents are structuralism, psychoanalysis, semiotics, feminism and ideological criticism;

2. Cultural theory since 1980s; The main contents include Frankfurt culturalism, postmodernism and cultural studies.

The above two theories are called big theories. They think that the real film theory research has only started for 30 years, that is, 60 to 90 years.

Eighty years later, they began a kind of "intermediate research" and opposed the big theory. That is, when the theory of subject status and the theory of culturalism rose, another middle-level theory appeared, insisting on learning from experience and not excluding theorization.

Conclusion: ※:

1 and 60 years ago, it was a small (low) theory with strong experience;

2, 60 to 70 years, grand theory;

3. Theory from 1980s to now;

Form colorful and distinctive film research, such as narrative film research, stylistic film research, genre film research, national film research, post-colonial film research and so on.

Second, the classic film theory

Before and after the First World War, the research on the status, characteristics and laws of film art;

Works:

In 1, 19 1 1, Kanudu's Seventh Art Manifesto demonstrated for the first time that film, as an art, is an art that transcends time and space. Seventh Art Aesthetics, Symphony of Light and Shadow.

2. 19 15, Lindsay in the United States, the art of moving pictures, takes "moving pictures" as the fundamental feature of the film.

3, 19 16, Hugo of the United States? Mü nsterberg's Film: A Psychological Study explores the psychological roots, artistic features and aesthetic features of film means.

Concept:

1, "upper phase"—

It is a fashionable word eye popular in France in the 1920s, which was created by Kanudou and is an important term of the avant-garde. 1920, Louis? Delluc discussed the artistic features of movies in On the Camera, and expounded its meaning: it refers to a unique method suitable for expressing the poetic state of people or things with movies;

Visual expression: scenery, lighting, rhythm, makeup; Show your spirit by taking photos-photogenic, through the above four means. It is a characteristic concept of early movies.

2. Early Montage-

Eisenstein pointed out: Different from the stage, film directors are more subjective and can choose key realistic fragments in different time and space.

The film selects and combines these clips to concentrate the plot.

Compress the reality into something distinctive, and show the time and space after the film is compressed, reorganized and cut.

3. Early differences between Eisenstein (1898 ~ 1948) and pudovkin.

Eisenstein pays attention to conflicts, such as "juggling" and "intellectual montage". Pudovkin emphasized the role of connection.

Eisenstein believes that conflict is the feature of montage, and new representations and concepts are produced after conflict. Pudovkin emphasized consistency. He believes that montage is a scene composed of multiple shots, a paragraph composed of multiple scenes, and a part composed of multiple paragraphs. There is a clear connection between these fragments. People don't feel interrupted and jumping, and get an unintentional stimulus.

Eisenstein had a new understanding of montage in his later period:

He believes that montage should express a coherent and organized theme, plot, action, behavior, and a narrative that maximizes feelings. The research involves sound painting montage and color problems.

4, Curry Schouw effect-

Experiments on controlling montage expressive force.

5, variety montage-

Eisenstein summed up a principle from drama creation in 1923, that is, "juggling" constitutes an independent original factor of a performance and is the molecular unit of drama effect and any drama. Juggling and gimmicks have nothing in common. Juggling pays more attention to expressing themes and ideas.

~ is an infectious means, which brings all the factors together to convey and express ideas. Not in line with the development of the plot, or even divorced from the development of the plot, there is actually an internal connection.

Free editing together to create a purposeful theme effect. Produce a miraculous and transcendental narrative and show the true theme to be expressed.

6. Rational movies-

The concept put forward by Eisenstein in the late 1920s. He believes that the artistic purpose of movies is not only to express the truth of images, but also to express ideas, increase the expressive force of film means and increase the possibility of understanding realistic means. However, in concrete creation, this idea and creation are too advanced, and the result cannot be successful, which is denied by theorists.

For example, balaz, a Hungarian critic, pointed out that the idea that "film art conquers pure ideas" is not feasible.

Eisenstein's representative works under the guidance of this thought include October of 1927 and General Line of 1929 (old and new).

Eisenstein tried to use montage to express the process from visual image to rational understanding. He once put forward the idea of making Das Kapital into a movie in a 30-year university lecture to realize his further imagination.

He believes that rational film is the only way to overcome the disharmony between logical language and video activities. Based on the dialectical method of film, rational film is not a story and anecdote film, but a concept film, which is an intuitive embodiment of ideological system and concept system.

7. Film Ophthalmology School-

Soviet documentary director Wiltoff proposed.

1922, Lenin published the articles "Of all the arts, movies are the most important to us" and "To reflect the reality of the Soviet Union, we must start with news movies", and Wiltoff responded by establishing the magazine "Movie Pravda".

His main point of view: grab life by surprise, don't let the photographer know, and use montage technique to recombine these grabbed materials ideologically.

He applied this theory in the film "Eyes" of 1924.

He believes that the camera is a more perfect and reliable movie eye than the human eye, and opposes all means such as script, actors, lighting, scenery and makeup.

"Movie Eye" is an action in movies. Painting is not acting, facing life and reality, recording various life events with candid photos, and discovering drama in reality.

Wiltoff pays attention to editing. He thinks movies are a tool to explain the objective world.

8. "Movies as Art"

This book is divided into two parts: 1932 and 1957. The viewpoint in the book is technocratic tendency, or the image is supreme.

Einheim thinks that the technical limitation of film is the root of film as art, which is related to the background of gestalt psychology he studied. (Art and Vision)

Gestalt: The visual process is not a mechanical record of the external world, but an organized sensory material created on the principle of simplicity, regularity and balance.

Film can't perfectly reproduce the characteristics of reality, which becomes a necessary means for it as an art.

Einheim believes that the limitations of movies include:

Stereo projection on (1) plane;

(2) the sense of depth is weakened;

(3) Colorless lighting;

(4) the distance between the picture boundary and the object;

5] Temporal and spatial continuity does not exist;

[6] Without sound, all the senses except vision have lost their functions.

9. Film Aesthetics balaz-

German version was published in 1945, also known as film theory: the characteristics and growth of new art, which is a collection of two books: Visible People: Film Culture (published in 24 years) and Film Spirit (published in 30 years).

1952 published in English.

The book analyzes the differences between film and drama in the principle of formal expression, and analyzes the artistic characteristics of film.

He believes that the principle of drama expression is:

(1) See the whole performance theater;

(2) The audience sight distance remains unchanged;

(3) The audience's perspective remains unchanged;

Principle of film expression:

(1) The shot scene can be divided;

(2) The sight distance of the recorded scene is variable;

(3) It can change the depth of the audience's viewing angle and the imaginary distance between the audience and the screen.

He believes that the expression principle of the above films is a revolutionary innovation in film art.

10, camera fountain pen-

It was put forward by Astric of France in the article "The New Avant-garde-The Birth of Photography Pen" in 1948.

He believes that movies have quickly become a tool to express ideas and a good way to preserve the image of the times, and movies have gradually become a language. After mastering this language, artists can express their ideas and abstract concepts as smoothly and naturally as writing essays and novels.

Let the camera express personal thoughts freely like a pen, and modern movies have become a way of expressing thoughts as finely as written language. It provided a theoretical basis for the theory of film writers in the French film handbook in the 1950s.

1 1, film author theory-

Truffaut and others suggested that not all directors can be called "authors". A film shot with the qualification of a film author is an "author film".

The main figures of the French New Wave: Truffaut, Godard and claude chabrol.

The author's policy requires that movies, like novels, music and paintings, are the works of one person, the works of film writers-that is, the works of directors.

This theory has a wide influence. Its author qualification conditions are as follows:

(1) In many films, the director's personality and personal style are reflected, and personal things are brought into the theme. A director is not an executor.

⑵ Movies should have some intrinsic meaning, which is formed the day after tomorrow rather than existed before.

(3) The film author has complete control over the film production, and there is no distinction between director and screenwriter.

Godard, Truffaut, antonioni, Ferini, Hitchcock and others are representatives of film writers.

This theory determines the authorship of a group of American directors, and their films are author films.

The essence of the author's theory: emphasizing that the film director is the main creator and the ultimate finisher. Judgment is based on the director's control of the work.

The author's films are also called art films, as opposed to genre films.

12, bazin, kracauer's realism and objectivism supremacism-

(Contrary to Einheim's technicalism and the supremacy of pictures)

Bazin theory: ※:

Bazin's long lens theory is a non-strict summary of Bazin's views in American theoretical circles (mainly referring to Bazin's appreciation of depth-of-field lens).

# Long lens:

A single lens reaches a certain length, which is also called a single long lens. Include zoom and a long lens with depth of field.

Long lens theory and montage theory are relative theories. The long lens theory emphasizes the expressive force (connecting expressive force), movement, depth of field and zoom of a single lens.

# montage prohibition principle (belonging to Bazin's image ontology):

If the main content of an event requires two or more action elements to exist at the same time, montage is disabled. Otherwise, montage is far from the essence of the film, but a denial of it.

# The ontological standpoint (objective) and aesthetic standpoint (tendentiousness) of the long lens put forward the social background of this theory because:

(1) A series of technical developments and changes in film and lens have improved the content quality and capacity of a single lens;

⑵ Mobile phone photography is more dexterous and changeable, which greatly enriches the in-lens changes of a single lens.

The contribution of the long lens theory: It explores a new aesthetic expression and improves people's understanding of the complex composition of the internal space of the focusing plane.

# Image ontology:

It was put forward by Bazin in 1945 "Photographic Image Ontology".

He put forward the basic characteristics of the image:

Photographic images produced by mechanical action are equivalent to objective objects. The uniqueness of photographic image lies in its essential objectivity, which produces the ontology of the subject, that is, the prototype of the subject.

Theoretical basis:

(1) photography has the privilege of keeping people out;

(2) People use realistic simulators instead of external desires, that is, they exclude people and rely entirely on machinery to reproduce the original works.

The image is persuasive.

# Mummy story:

Bazin pointed out that the attempt to analyze the origin of film, sculpture and painting with the help of psychoanalysis made people have the impulse to preserve their bodies forever. The earliest statues were mummies, and sculptures and paintings became later substitutes. It also stems from the above impulses and wishes. The eternal form is used to overcome the primitive needs of the passage of time, while sculpture and painting can't meet people's wishes.

Photography really meets the needs of people to reproduce the original. Photography is to add interest to events, and it is a supplement to natural creation, not a substitute.

For the first time, the image reflects the continuation of things-changeable mummies.

# Full Movie:

Bazin expressed the language of film origin.

The fundamental reason is psychological need, which is called "the myth of a complete film". Reproduce the illusion of the external world such as sound, color and three-dimensional sense.

Kracauer theory. ※:

# "The essence of film-the restoration of material truth"

Published on 1960

Aesthetics is a kind of beauty in essence, not in form. Kracauer expounded the concept of "cinematic".

Film, essentially an extension of photography, has obvious affinity with the surrounding world. When a film records and reveals the material reality, it is a real film.

Kinship:

(1) Movies have a close affinity for things that have never been performed. It is reasonable to play a role that can arouse the illusion of reality. If it violates the characteristics of the film, any performance is non-cinematic.

(2) I like accidental things (accident: as opposed to necessity). In American mime, unexpected events replace fate, and powerful decisive forces appear. Everything is not predestined, it just happened.

(3) I like to reproduce the continuity of the outside world (similar to Bazin), everything is shot in the camera's field of vision, endlessly. Requires us to admit that this is part of the world we live in.

(4) Preference for vague things. Natural phenomena have many meanings, corresponding to the psychological infinity and spiritual infinity. The screen tends to reflect these vague things, and the meaning can't be too sure.

5] Life flows. Refers to the specific situation and the world, refers to the material phenomenon rather than the spiritual phenomenon. Streets are often mentioned because the primitive forms of life on the streets often appear, not performances, but gathering places of accidental events, and any plate is incomplete.

# Movies are not suitable for tragedy.

This is Krakow's understanding of the characteristics of film art and an extension of his basic viewpoint, pointing out that tragedy is "non-cinematic".

He thinks that there is a natural affinity between tragedy theme and stage story:

⑴ Tragic themes must be expressed in a purposeful and holistic story form, which is contrary to the characteristics of movies.

⑵ Tragedy only cares about the interaction between characters, and inanimate objects can only be props, which support and standardize the development of drama.

(3) Tragedy needs the arrangement of external things, and the environment of the stage play reflects emotions, so there is bound to be a storm in the stage play.

(4) Tragedy requires a limited and orderly world. Film is an art centered on the vast world. There is no universe in the film, only a piece of land, sky and street. In short, it is a huge material, and the ending of death has nothing in common with the huge reality of this material.

In the tragic world, fate rejects accidents and accidents.

5] Tragic content is always absent in the material world. Because the content of tragedy is a pure spiritual world.

Tragedy can appear in movies, but the tragedy of movies is not completely cinematic.

Similarities and differences between kracauer and Bazin's theoretical viewpoints. ※

Similarities: both emphasize the recording function of movies to reality;

Difference:

(1) identity is different. Kracauer is a theorist and Bazin is a critic.

(2) The system is different. Kracauer is a deductive system (theory), while Bazin is a critical system and a historical system.

(3) Different influences. Kracauer has little influence on film practice, while Bazin's influence on film practice is worldwide.

(4) The starting point is different. Kracauer's starting point is single (theory), while Bazin's starting point is complex (psychoanalysis, mummy, etc. ).

5] Krakow lacks historical consciousness, while Bazin has a strong historical consciousness.

Third, modern film theory:

1, film language-

Use this term to treat movies as a natural language. Around the end of 1950s, the word "film language" was used figuratively. The main meaning refers to the various means of expression of the film, such as photography, lighting, makeup and so on. From the perspective of structural linguistics, film language is to check how the expression of the film qualifies for language.

Saussure's view in general linguistics is that language = language system+speech.

Mitri believes that "film is not equal to language" (structuralism should be cautious)

Mace's point of view is that movies are words without language system.

1, the relationship between the first semiotics and the second semiotics-

The second semiotics does not replace linguistics, but combines psychoanalytic research, which does not mean the completion of the first semiotics, but the second semiotics is a new research direction and expands the deep audience psychology.

Nick. Brown believes that the second semiotic system is based on the psychological relationship between the audience and the image.

4. "Imaginary signifier"

The term put forward by Metz.

"Imagination" comes from Lacan, and "signifier" comes from Saussure, which means expression. Metz used psychoanalysis and linguistics to study movies, with the intention of studying movies as a combination of dreams and language.

"Imaginary signifier", that is, the film's signifier is an audio-visual means, which expresses an imaginary world, and the signifier itself is imaginary, that is, the audio-visual means is imaginary.

5, mirror stage-

Lacan's psychoanalytic language.

People understand movies as a mirror, and a person's individual psychology has a similar mirror function, which plays a decisive role in the early stage of personality formation. It lies in self-formation, which occurs in infancy from 6 to 18 months. Babies can't talk, can't move, rely on adults, have precocious vision, and gradually get rid of their mothers' bodies.

This process is because human beings have mirror image function. The ego can't be related to the individual, but is a response to the individual;

(1) You can't tell yourself from an adult;

I am glad to find that I can tell that the mirror image is myself.

For the audience, the film is a mirror.

6, the second identity-

Lacan's theoretical terminology.

In the mirror image stage, the baby recognizes himself, and his limbs are a whole, including his mother's identity. The mother-child relationship involves the father's intervention, separating the baby from the mother, and the second identity is the identity of the father.

A screen is a metaphor for a mirror.

The Ideological Effect of Baudrillard's The Basic Film Machine.

For the understanding of the second recognition, he thinks that the audience's recognition of the film image is an recognition, and the audience recognizes the credibility and authenticity of the screen.

Secondary recognition is the recognition of the camera by the audience, which defines the view and position of the screen object and the audience.

Not a purely objective reality.

9, the particularity of film time and space-

It lies in the special comprehensiveness of film time and space.

Film is not only a time art, but also a space art. The combination of time and space includes drama, dance and film, which is a special three-dimensional time and space art of one-dimensional time and two-dimensional space.

Drama, dance, the art of one-dimensional time and three-dimensional space, it is the lack of one-dimensional space in the film that makes the film have great expressive force and imagination space.