Spatial expression of film and television art

Taking pictures is not only to reproduce the real space. In order to express some subjective feelings and create an internal visual image, the creator also deliberately uses various photography techniques to change people's impression of the real space, deform the space and compress the multi-space picture group.

In order to achieve the purpose of spatial expression, spatial deformation has great expressive and emotional meaning. For example, in the movie Yellow Land, Cui Qiao came to the river with a bucket many times. Through the compression of space by telephoto lens, people feel that Cui Qiao's back is always filled with the water of the Yellow River, feel the warmth and softness of the Yellow River, feel her love and dominance for Cui Qiao, and let the characters be deeply embedded in the Yellow River. In the delivery room scene of the film Death and Girl, the photographer used a small depth of field to shoot rows of newborn babies. By adjusting the focus, the clear point of the picture shifts from the first baby to the farthest one, creating a sense of floating, like a bud breaking through the ground. The spatial expression means of photography modeling can also constitute an image form with imagery and abstraction. The main purpose of using this image form is not to express the object, but to describe the mind. In the relationship between "god" and "form", it is to seek "god" instead of "image" to express strong subjective feelings, and it also permeates the creator's subjective emotional judgment. For example, the famous American film Apocalypse Now used a set of images to express it from the beginning. In the jungle of Vietnam before dawn, there was a glimmer of light on the horizon, and there was a quiet and sad male solo and accompaniment in the distance, and then there was a relaxed and tired helicopter motor sound in the distance. Then the sledges of two helicopters slowly passed through the picture. The emotional stimulation of this word "modeling space" is very strong. The story has not yet begun, there is no plot, there is no action, and it is not the specific place where the story will begin. On the contrary, metaphorical photography reflects the creator's concern and sadness for human destiny and sympathy for nature. Behind the picture is a helicopter superimposed on the captain's head. The top of the helicopter is facing the bottom of the screen, as if the whole human world is upside down. The captain's eyes are fixed on the human world outside the picture. Whose vision does this represent? Whether it is the captain's, the creator's or the audience's, it seems that there are both. In short, a pair of eyes staring at all mankind, coupled with the motor sound of the plane, form a group of extremely abstract shapes-spatial images. Once this image appears, it previews the macro angle of the movie. The deformation of space actually changes the general spatial proportion between things and people, and achieves some visual emphasis and suggestion. Different spatial combinations of the same picture are a spatial expression of modern film and television photography pictures, and also a montage construction method inside the picture. The artistic charm of this combination brings people a composite video, which makes the picture information feel the three-dimensional and diversified displayed by the changes of different spaces in the same appreciation time. For example, when dealing with a singer's performance on a TV screen, the panorama and the prospect will appear in the same screen, and the actor's posture, demeanor and painting expression will be displayed to the audience at the same time. Another example is the combination of the real space and fantasy space of the characters in TV. A frame contains multiple pictures and several different spaces, which will bring a new era to the film and television space.

There are two ways to deal with space objects in film and television photography: either faithfully reproduce the original appearance of space, or artistically fictional space, exaggerating and distorting space. The former is to preserve the "real space" and give us an immersive feeling by moving bionic eye, while the latter is to create a new comprehensive overall space by cutting and combining the lenses. This space may be unified in the eyes of the audience, but it is actually an irrelevant combination of shots at different times and places. Kuleshov's "Creative Geography Experiment" is a typical example.

Engels wrote in Anti-Turin: "The basic form of any existence is space and time, and the existence outside time is as absurd as the existence outside space." Therefore, the coexistence of film and television time and space is like a weight in Libra, so we should make the two equal. Only in this way can we play a powerful role in future artistic creation.