Character analysis method of film and television works

The characters we understand in movies are often played by actors in movies? Character? The comprehensive feeling of the actor's own image. A character is sometimes a concrete concept and sometimes an abstract concept.

The characters in the film are the subject of narration; It is the initiator and undertaker of the main plot in the movie plot; Sometimes, some characters in the movie are not particularly helpful to the plot, just a kind of? Symbol? , is a kind of? Symbol? . What our psychological consciousness and ideological consciousness can't surpass is that it is difficult for us to compare with each other. Actor? The image in the movie? Character? Separated from the image, there are often three modes of thinking:

A: The characters in the film are the actors themselves.

B: The characters in the film-actors+roles.

C: The characters in the movie-the characters.

Analyze the expressions of the characters in the film;

The performance of the characters in the film is not only the overall narrative and plot of the film, but also the concrete performance and expression, rather than the number of scenes, dialogue lines and shots. Generally speaking, there are four ways:

1) Character appearance:

The appearance of the characters in the film is an important character feature and important visual information of the characters in the film. In the process of film production, more attention is paid to the treatment of clothing, hairstyle and makeup. For example, Chaplin, a classic figure in the early silent film era in the United States, has a distinctive appearance and vivid visual appearance in the film. The characters in the film should not only conform to the narrative of the film, but also have distinctive characteristics.

2) the performance of the characters:

In the performance of a certain character in the film, sometimes it is more handled by a certain lens scene. Its purpose is to make full use of the scene of the lens to describe the psychology, emotion and performance of the characters. Even if a character uses multiple scenes to process the picture, or many characters use different scenes to express it, it is necessary to describe the character and psychology of the character. For example, in My Mom and Dad, Mom? When I was young, I used close-ups and close-ups, panoramic views and distant views alternately. Mom? The narrative and characters in Old Age are mostly completed by panoramic lens, and the overall style of the film is basically such a routine treatment.

3) Body expressions of characters:

Most of the narration of the film and the handling of characters in the scene are carefully designed by directors and actors. Because the way and state of the characters' body processing is not only for narration, but also for the scene, more for the shaping of characters and even for promoting the plot of the film. For example, in the movie "My Mom and Dad", in colorful time and space memories, young people? Mom? Characters are always moving, standing and running; And in the black and white real time and space paragraphs, old? Mom? It's just the opposite processing, and most body manifestations are processed into static forms and sitting postures.

4) Role position performance:

The position of characters in the composition of film photography pictures has its special significance in both film style and picture effect. In the specific picture processing mode, some characters are processed in the middle of the picture; Some characters are processed on the screen; The positions of some characters are simply irregular and stuck. For example, the overall style of the role position in the movie Yellow Land is centered. The overall style of character positions in movies 1 and 8 is neighborhood handling. These two different processing methods make the position of characters in the film picture composition have a distinct modeling effect. In fact, this is an extension of film narrative, means and style. Analyzing the expression of characters from a macro perspective must be a skill and element that the director attaches great importance to in the process of film creation. Through this detailed quantitative analysis, we can further understand the style, picture, effect, technique, structure and directing method of the film.

Analyze the expressive skills of the movement of n objects;

The important factors that determine the actions of the characters in the film are environment, events and regulations. As a director, the simple performance and complex performance of the characters' actions will produce different results in the narrative style of the film. Then, the core question is what kind of lens skills the director uses to reflect and express the actions of these characters.

At this time, the action of the characters in the narrative becomes the content, and the skills of lens processing and performance become the form. When we analyze the action of the characters in the film, it is only one aspect of our analysis of the characters to discuss the existing form and action mode of the action itself. More importantly, at the same time, it is necessary to analyze the specific lens skills (methods) used in the shots and paragraphs of the film to express the actions of the characters here and now. In actual creation and shooting, directors can use different lens techniques (methods) to shoot and express different roles, or they can use relatively fixed lens techniques (methods) to express the same action and different actions. If the latter method is adopted, it will produce a special style in the handling of action lens skills (methods) of movie characters. For example, the film "Yellow Land" directed by Chen Kaige uses a large number of static shots to express the picture, and uses extremely limited translation to express the movements and movements of some characters to express the space of the scene; The film "New Longmen Inn" directed by Tsui Hark often uses exaggerated and distorted lens images to express the close-ups and movements of various characters. Most of Wu Yusen's sub-films use high-speed photography (slow motion) lens techniques in narrative shots and action shots to show the alienation of characters' actions in the film, which has a romantic, elegant and detached sense of characterization. Violence? Characteristics of aesthetics.

Analysis of light forms of characters in scenes and shots;

According to the conventional analysis of movies, the light forms of characters in scenes and shots should have their relative design, independence, distinctiveness and distinctiveness.

The form of figure light is not only influenced by the location, direction and nature of the scene, space, environment and light source, but also restricted by the theme, content, style, narrative, plot and director's handling of the film. Sometimes, in order to create a character image, a certain character in the film is given a specific light form. As long as this character appears, this specially designed lighting effect exists. For example, in the movie "Hanging the Red Lantern High" directed by Zhang Yimou, the light form of the character Master Chen is quite prescriptive, which is totally backlight, silhouette and semi-silhouette. It makes the characters vivid, increases the mystery of the characters, and plays a very important role in the narrative of the film. Sometimes, in order to express the narrative plot of the film, a certain light effect is given to a character in the film, and this light effect will be taken wherever the character goes. In the American film Apocalypse Now, Captain Willa went through hardships and went deep into the jungle to find Colonel Kurtz. In the scene at the end of the film, the lighting effect of Colonel Kurtz's residence in the jungle is completely subjective, and the characters are only backlit, which is mysterious and formal. Sometimes, the treatment of photographic light is entirely for the style of the whole movie, so that one or several characters can adopt a specific light effect form. For example, in director Guan's film Ruan, the characters in modern time and space (paragraphs played by actors) are treated and given light and silhouette light, which is very vivid, modern and beautiful, surpassing the aesthetic atmosphere of early information films and forming two different time and space alternations in the form of light.