Knowing the name of this European and American movie will give you double points! ! ! ! ! ! !

I haven’t seen this one, but I can recommend similar ones. This is an introduction to the montage technique and some movies are listed in it.

Montage has two major functions: narrative and representation. According to this, We can divide montage into three basic types: narrative montage, expressive montage, and rational montage. The former is a narrative device, while the latter two are mainly used to express meaning. On this basis, a second level of classification can also be carried out, as follows:

Narrative montage This montage was pioneered by American film masters such as Griffith and others, and is the most commonly used narrative method in film and television. , its characteristics are to explain the plot and display events as the main purpose, and to divide and combine shots, scenes and paragraphs according to the time flow and causal relationship of plot development, thereby guiding the audience to understand the plot. This kind of montage has a clear connection, logical coherence, and is easy to understand. Narrative montage also includes the following specific techniques:

1. Parallel montage This montage often presents two or more plot lines that occur in different time and space (or in different places at the same time) in parallel and are narrated separately. And unified in a complete structure. Griffith and Hitchcock are both masters of this kind of montage. Parallel montage is widely used. Firstly, because it is used to deal with the plot, the process can be omitted to facilitate summary and concentration, save space, expand the amount of information in the film, and strengthen the rhythm of the film; secondly, because this technique shows several clues in parallel, interacting with each other. To set off and form contrast, it is easy to produce a strong artistic impact. For example, in the film "War in the South and North", the director used parallel montage to show the scenes of the enemy and ourselves occupying Motian Ridge, creating a tense and exciting rhythm.

2. Cross-montage is also called alternating montage. It quickly and frequently splices together two or several plot lines that occur in different regions at the same time. The development of one clue often affects the other clues. The clues are interdependent and finally converge together. This editing technique can easily arouse suspense, create a tense atmosphere, and enhance the sharpness of conflicts. It is a powerful method to grasp the audience's emotions. This method is often used in thrillers, horror films, and war films to create chase and thrilling scenes. For example, in the battle to cross the Dasha River, the three clues of our army and the enemy's rapid march to the Dasha River and the guerrillas' bombing of the dam were alternately cut together to show the thrilling battle.

3. Repetition montage is equivalent to the retelling or repetition technique in literature. In this montage structure, shots with certain meanings appear repeatedly at key moments to depict the characters and deepen the theme. purpose. For example, the pince-nez and the red flag symbolizing revolution in "Battleship Potemkin" have been repeated in the film, making the film's structure more complete.

4. Continuous montage This montage does not develop with multiple clues like parallel montage or cross montage, but follows a single plot clue and follows the logical sequence of events to rhythmically continue the narrative. This kind of narrative is natural and smooth, simple and smooth, but due to the lack of changes in time, space and scenes, it cannot directly display the simultaneous plots, and it is difficult to highlight the parallel relationship between the various plot lines. It is not conducive to summary, and it is easy to be procrastinating and lengthy, and the narrative is straightforward. feel. Therefore, it is rarely used alone in a film, but is often mixed with parallel and cross montages to complement each other.

Expression montage Expression montage is based on lens pairings. Through connected shots, they contrast and impact each other in form or content, thereby generating rich meanings that a single shot itself does not have, to express a certain emotion or Thought. Its purpose is to stimulate public associations and enlighten the audience's thinking.

1. Lyrical montage is a kind of expression that transcends the plot while ensuring the coherence of narrative and description. Jean Mitri pointed out: Its original intention is not only to narrate a story, but also to render it vividly, with more emphasis on the latter. Significant events are broken down into a series of close-ups or close-ups, capturing the essential meaning of things from different sides and angles, and rendering the characteristics of things. The most common and most easily felt lyrical montage is often an empty shot that symbolizes emotion after a narrative scene. For example, in the Soviet film "The Village Teacher", Varvara and Martynov fell in love, and Martynov tentatively asked her if she would wait for him forever. She replied affectionately: "Forever!" Then the screen cut into a shot of two blooming flower branches. It is not directly related to the plot, but it appropriately expresses the emotions of the author and the characters.

2. Psychological montage is an important means of psychological description of characters. It vividly displays the character's inner world through the combination of pictures and shots or the organic combination of sound and painting. It is often used to express the character's dreams, memories, Flashes of thought, hallucinations, daydreams, thoughts and other mental activities. This kind of montage often uses cross-cutting and other techniques in editing techniques. It is characterized by the fragmentation of pictures and sound images, the incoherence of narrative and the jumping of rhythm. The sound and picture images bear the strong subjectivity of the people in the play.

3. Metaphoric montage uses the comparison of shots or scenes to implicitly and vividly express a certain meaning of the creator. This technique often highlights certain similar characteristics between different things to arouse the audience's association, understand the director's meaning and appreciate the emotional color of the event.

For example, in "Mother", Pudovkin combined the shots of workers' demonstrations with the shots of thawing glacial water in spring to metaphor the unstoppable revolutionary movement. Metaphorical montage combines great generalization power with extremely concise expression techniques, and often has strong emotional appeal. However, we should be careful when using this kind of timidity, and metaphors and narratives should be organically combined to avoid being blunt and far-fetched.

4. Contrast montage is similar to the contrasting description in literature, that is, through the lens or scene, the content (such as poverty and wealth, pain and happiness, life and death, noble and humble, victory and failure, etc.) Or the strong contrast in form (such as scene size, color warmth, sound intensity, movement and stillness, etc.) produces conflicting effects to express a certain meaning of the creator or to strengthen the expressed content and thoughts.

Rational montage Jean Mitry defined rational montage as: it expresses ideas through the relationship between pictures, rather than through a simple coherent narrative expression. The difference between rational montage and coherent narrative is that even if its pictures belong to actual experienced facts, the facts combined according to this montage are always subjective visions. This type of montage was created by Eisenstein, the main representative of the Soviet school, and mainly includes:

1. Juggling montage Eisenstein’s definition of juggling montage is: juggling is a special moment in which all elements They are all designed to instill the thoughts that the director intends to convey to the audience into their consciousness, and to put the audience into the mental state or psychological state that caused this thought, so as to cause an emotional impact. The content of this kind of banyan tree can be chosen at will, and is not bound by the original plot, so as to create an effect that can ultimately illustrate the theme. Compared with performance montage, this is a more rational and abstract form of montage. In order to express some abstract rational concept, some shots that are completely irrelevant to the plot are often forced into the scene. For example, in the film "October", when showing the ulterior speech of the Menshevik representative, a shot of the hand playing the harp was inserted to illustrate. It "repeat old tunes and confuse the audience." For Eisenstein, the replayability of montage is not limited to the special way of creating artistic effects, but the style of expressing intentions and the way of transmitting ideas: an idea is established through the collision of two shots, and a series of ideas create a An emotional state, and then, with the help of this aroused emotion, the audience responds to the thoughts that the director intends to transmit to them. In this way, the audience is involuntarily involved in the process and willingly agrees with the overall tendency and meaning of the process. This is the principle of this great director. After 1928, Eisenstein further promoted vaudeville montage into a "dialectical form of film", based on the symbolism of the visual image and the logic of the inner meaning, while ignoring the content being expressed, and even falling into a pure theoretical maze. It also brings about creative mistakes. Later generations learned from his lesson and used juggling montage more cautiously in modern films.

2. Reflection montage is not like juggling montage, which randomly inserts symbolic images that have nothing to do with the plot content to express abstract concepts. Instead, the things described are in the same place as the things used to make metaphors. A space, they are interdependent: either to contrast with the event, or to determine the reaction between things grouped together, or to reveal through reflective association similar events contained in the plot, thereby acting on The audience’s feelings and consciousness. For example, in "October", Kerensky comes to the Winter Palace surrounded by ministers. An upward shot shows a pillar above his head. There is a sculpture on the capital, which seems to be covering Kerensky's head. The light above makes the dictator appear supremely honorable. The reason why this shot doesn't look stiff is because Eisenstein used a sculpture in a real set, a real object that exists in a real dramatic space. He processed it without making it irrelevant to the plot. Relevant images are attractive.

3. Thought montage This is a method created by Vertov, which is to use documentary materials in news films to re-arrange and express an idea. This form of montage is an abstract form because it only expresses a series of thoughts and emotions inspired by reason. The audience watches indifferently, creating a certain "alienation effect" between the screen and them, and their participation is completely rational. "Ordinary Fascists" directed by R?hm is a typical work.

Also

The Indian film "Elephant" is a film that pays great attention to montage techniques.

"Battleship Potemkin" by Eisenstein of the Soviet Union. The film's splicing techniques had a very important influence on later films. Eisenstein is called the "Father of Montage" by many film historians.

Hilarious montage comedy "Why Did the Angel Come to My House"

Montage classic - Modern Times

There is a scene in "Vampire" where the vampire's head After being chopped off, the camera flies out and the scene is cut to a large piece of fat on the plate at dinner. It gives the impression that the head fell on the plate and turned into a ball of food, which is a metaphor of the law of the jungle.

In "Apocalypse Now," another landmark work by Coppola, when the male protagonist wanted to kill Marlon Brando, the scenes of the killing and the buffalo killing ceremony were constantly interlaced and edited together

In the opening of "Out of Africa", the heroine's voice recalling the past flashes the jungle in her heart (the camera is unstable) and the roar of wild beasts.

The next scene showed a man (later the audience learned that it was the male protagonist Dennis) standing on the plain with the setting sun above his head. The audience will confirm the subsequent development of the plot and will find that these two juxtaposed shots are a microcosm of their past interactions. Dennis appears at the right time, scaring away a lion that is gradually approaching the heroine. He brings stability to her. But he died in a plane crash at a young age, and the ending was like a sunset, but the sun cannot rise again after death. Taking the connection of two shots as an example, a brief moment is already a microcosm of a person's life. Taking a single shot, the hazy figure in the sunset is a true portrayal of Dennis. For the heroine, Dennis is mysterious and difficult to understand, and what she sees in her mind is actually just a hazy outline.

Griffith became the first person in the history of film to consciously use "montage". In "The Adventures of Dolly" (1908), Griffith created the "flashback" technique; in "Bleak House" (1909), he applied parallel montage for the first time, creating the famous "final "One-minute rescue" technique; in "Ramona" (1910), he created a long shot; in "Pastor Ronda" (1911), he used extremely close-up shots and developed alternating cuts. In "Slaughter" (1912), he first responded to Griffith's above-mentioned series of creations, and in "The Birth of a Nation" (1915) and "Party Against Diversity" (1916) In this masterpiece, he applied the new techniques he created very skillfully, but he never organized his montage method. Mobile photography was used.