The artistic value of Chinese characters

Some Introduction and Generalization of Film Types

experimenting film

Experimental film is a non-commercial film developed in the United States from the 1930s. This kind of films are mainly short films shot with l 6 mm cavity film, without traditional storyline, and their main performance styles are surrealism and abstraction. As far as its artistic essence is concerned, it is a pioneer film in the era of audio film.

From the 1920s to the mid-40s, experimental films were in their infancy. There are only a few, such as photographer relf Steiner's abstract style "HZ0" (1929) and "Mechanical Principles" (1930), and Slav Volka Pitch's "No.94L3 ... The Life and Death of a Silent Supporting Role in a Food Wharf".

After World War II, experimental films have made new progress. Although the center is still in the United States, experimental films have been filmed in Britain, France, Italy and other European countries. This is because: 1. The advent of high quality and low price 16 mm film and portable sound film camera provides technical conditions for amateur personal production activities; 2. Some European avant-garde filmmakers, such as Hans Ritchie, began to exert influence in the intellectual circles. Under the promotion of new york Museum of Modern Art F, a series of European avant-garde films, including Jean Cocqueteaux's films, were released in the United States, which aroused people's interest and hobbies. 3. The new way of production, distribution and projection of Meyer-Delian experimental film has solved the problem of outlet.

From the mid-1940s to the late 1950s, the main representatives of American experimental films were Meyer-Derian, Kenneth Angel, grigori-Kyle poros, Curtis Harrington, Shirley Smith, Whitney Brothers and Frank Novoth. These people belong to the two wings of experimental films: surrealism and abstraction. Dylan's "Today's Web" (i943 1, On Earth (1944), Dance Practice of Movie Camera (1945), Angry Fireworks (1 945), Kyle Dulos's mind. Influenced by Fesinger, Smith filmed an abstract graphic film hand-painted by Ruo Cadre. The Whitney brothers also experimented with abstract graphics in five films from 1943 to 1945. Stufahi, who is active in San Francisco, organized a series of screening activities of "Art in Film" and made his own films such as "Suosaari" (1948), trying to integrate poetry and film on an abstract basis.

The new American movies in the mid-1950s and the underground movies in the late 1950s are the continuation and development of American experimental movies. After the underground film movement spread to western Europe in the mid-1960s, people seldom used the word "experimental shadow" and replaced it with "underground film".

surrealist film

Surrealism film applies surrealism in literature to the creation of film genre. It inherits the principles of Andre Breidon, the advocate of this creative idea, and emphasizes the authenticity of irrational behavior, the meaning of dreams, the emotional power of uncoordinated images and the persistent pursuit of personal pleasure. It once became the mainstream of French avant-garde films in the 1920s, and later became an important wing of American experimental films and underground films. In the field of commercial feature films, surrealism does not constitute an independent genre, and its influence is limited to individual shots or paragraphs of the film. Adu Kilo's film application surrealism is a typical work of this kind of research.

In the 1920s, French avant-garde filmmakers found that the photographic nature and montage alignment skills of the film made it the most ideal expression of surrealism. This view has always been popular among anti-traditional filmmakers and has been put into practice.

Generally speaking, Drucker's Shell and Monk is the first surreal film, but more attention is paid to luis Bunuel's An Andalusian Dog and The Golden Age. The former is a series of dreams of a homeless man with mental problems, while the latter is a Freudian analysis of sexual desire and love. Western film researchers agree that after bunuel turned to feature films, the influence of surrealism still looms in his works from time to time. In experimental films and underground films, the representatives of surrealism tendency are Mayer Delian and Kenneth Angel in the United States. In the field of feature films, western film researchers tend to attribute the description of abnormal psychology, potential sexual impulse and irrational behavior to the surrealism of feature films. So like Hitchcock's series of movies: Dr. Edward (1945), Dizziness f 1958), North by Northwest (1959), Psychopaths (1962) and Birds.

Indoor drama movies and street movies

Kammer spiel movie

Kammer spiel film, which appeared in Germany in the 1920s, is the opposite of expressionist film. "Indoor drama" was originally a term created by German drama director Max Zeihart, which specifically refers to the stage plays of small theaters and abides by the unity of time, place and action. Carl Meiyu, an Austrian film screenwriter, applied this concept to films and founded indoor drama films. Mei Yu wrote the script of Dr. Carrigari in 19 19 and became one of the main advocates of expressionist films. But a year later, Mei Yu began to break away from the track of expressionism and wrote The Back Stairs at 192 1, which was directed by Paul Leni and became the first "indoor drama film".

Indoor feature films abandon the common themes of ghosts and lunatics in expressionist films, and describe the daily life and environment of railway workers, shop assistants, maids and other small people in society. It abides by the three laws of classical tragedy, with simple scenery (mainly indoors), few characters, generally unknown, and only characterized by its occupation. It pays great attention to the psychological description of the characters, and the lens often stays on the gestures and facial expressions of the characters for a long time. Because the story is simple and the time and space have not changed much, on the one hand, actors are required to be serious and plain in their acting skills and avoid exaggeration, on the other hand, subtitles are used as little as possible to convey dramatic content through visible images. However, due to the technical limitations of silent films, the characters' personalities are too simple, the shots are too complicated and repetitive, and even the audience can't understand the motives of the characters.

In addition to a series of films such as Railway (192 1), New Year's Eve (192 3) and The Worst Man (1924) written by Mei Yu, the representative works of indoor drama films also include Desire by Paul Sinner. This kind of film has played a great role in guiding some German film directors to the road of realism (see Street Movie). Abroad, its influence is mainly manifested in the film forms of some French film directors represented by Marcel Carné.

St. leite film company

St reet film, a German film with street as its main action background, appeared under the influence of indoor drama films. Siegfried Krakow coined this word in From Rigari to Hitler. Representative works include Street by Karl-Gerner (1923), Street Without Joy by Piper (1925) and Street Tragedy by Bruno Rahn. (i927), etc. These films show the social reality, and reflect the daily life of the lower classes in Germany with direct, unpretentious and objective style, concise acting and realistic scenery. This kind of films get rid of the crazy fantasy of expressionism, break the narrow world of indoor drama, and reflect the efforts of German films to move towards realism at the end of silent films. However, with the rise of Nazi forces and the establishment of the Nazi-controlled monopoly Ufa Film Company, this effort was aborted.

Film handbook school

The film handbook school is also called the film handbook group. From 65438 to 0955, a group of young film critics, led by andre bazan, gathered around the editorial department of The Movie Handbook. Later, they made the transition from film criticism to film shooting, and became the main directors of French "New Wave" film C.

Film Handbook was founded in 195 1, with editors including Luo, Jacques Dahlnor-Val Kloz, among which Bazin's aesthetic thought played a leading role in the magazine's production. From 65438 to 0955, a group of young people who agreed with Bazin's theory began to set up a new evaluation standard with the method of "author theory" based on the film handbook. The main figures among them are Truffaut, Godard, Levitt, Chabrol, Duma and cheryl. From 1958, Truffaut, Godard, Levitt, Chabrol and others made their first films one after another, which played a certain role in the formation of the "new wave" of French films, and this group of people was called the "film handbook" school from now on. After the decline of the "new wave" in [96t], these people became divided. Truffaut and Chabrol became popular commercial film directors, but their films still have high artistic value. Levitt turned to experimental films. Godard's road is more complicated and changeable. Before 1968, his films became more and more modernist. I advocated the anti-moral view of existentialism and anarchist political thought, but in form, he wantonly destroyed the traditional film grammar. From 1968, he suddenly turned to the extreme left and filmed a series of short films with strong political color, opposing capitalism and advocating violent revolution. 197 1 year was injured in a car accident and stopped shooting. In the late 1970s, he began to shoot feature films again, declaring that he would "stop asking about politics".

The Left Bank Group is a film director group that appeared in France in the late 1950s, and it was named after its members all lived on the left bank of the Seine River in Paris. They are alain resnais, Agnès Varda, Chris Ma Erkai, Aaron Rob-Gerye, Margaret Durra and Henry Corpi. But ... in fact, the "Left Bank School" did not form a "school" or "group". They are just a group of artists. They have a long friendship with each other, have similar artistic interests and often help each other in their creation. Basically, it can be divided into two categories: one is directors who have been engaged in film creation for a long time, such as Ren 'ai, Varda and Corpi; The other is mainly engaged in literary creation, such as Ma Erkai, Dura and Rob Greer. Because their famous films were released in the late 1950s and early 1960s, such as Ai Jun's Love in Hiroshima (i959) and Corpi's Farewell (196 1) (both written by Dura), and the loving Last Year of Marienbad (19666). Therefore, their works are often classified as "new wave" movies.

In fact, there are significant differences between films directed by Zuo 'an School and films directed by Film Manual School, that is:

1. The directors of "Left Shore School" only make movies out of scripts specially written for movies and never adapt literary works;

2. They always focus on the description of characters' inner activities and record the external environment;

3. Their film techniques are very particular about scrutiny, and the details should be decorated and carved, without sloppy semi-improvisation style;

4. Their films are more modern, especially those of Dura and Rob Greer, because they are the representatives of French modernist novels.

"Left-bank" movies are called "writers' movies" in France, which means movies made by literary writers. In addition to the above-mentioned films, their representative works include muriel and The War is Over (1963) and The Immortal Woman by Rob Gerry (1967).

The influence of "Left Shore School" movies is far-reaching. For example, York Rozier's Farewell to the Philippines (1962) uses impromptu dialogue, a camcorder and a hidden microphone, showing the imprint of a real movie. Truffaut's Rampage (1959) also clearly shows the influence of real movies with its highly natural shooting style and social content. Godard has subjective intervention in many of his films, and even directly adopted the method of real movies.

CINEMA VERITE is a type of film creation characterized by direct recording since the late 1950s. Including the French real film movement and the American direct cinema movement. Representative figures include French Jean Luxi, Fran? ois Lechbach, Maglio Lusduli, American brothers David Mesl and Albert Mesl, Richard Rico, don allen Penny Schell, etc.

Advocates of real movies claim that their inspiration mainly comes from the theory and practice of "movie eye" of Soviet Union Jiga Wiltoff. In the 1920s, Wiltoff filmed a series of news documentaries composed of life scenes, and later edited these scenes into feature films with certain structure. He called this movie "Movie Pravda", and the real movie is actually a busy French translation of this hungry word. The artistic difference between real film works and Film Pravda is that the events expressed by the former are more complete and single, so it has the characteristics of feature films.

As a mode of production, real movies have the following characteristics:

1. Shoot real life directly and refuse to make fiction;

2. Don't write the script in advance, and don't use professional actors;

There are only three people in the film crew, namely the director, the photographer and the sound recorder. The director edits the film himself.

In this film type, the only difference between French real films and American direct cinema lies in the role of the film director: the French advocate that the director can participate in the filming process. For example, when Lu filmed Chronicle of Summer (196 1), he inserted a series of interviews and arguments with characters in the film in order to give the audience the impression that the director was by no means a bystander. Americans, on the other hand, try to avoid interfering in the course of events and ask directors to take a strict and objective stance so as not to destroy the natural tendency of the subject. For example, when Leacock filmed David (1962), he just followed the natural course of the incident from beginning to end and filmed a young drug addict in a drug rehabilitation center without interference.

The shooting method of real movies requires the director to accurately discover the event and predict its dramatic process, and requires the film crew to act quickly and decisively. This way will inevitably limit the theme of the film, so there are very few movies in the real sense. As a genre, the real film is of greater significance because it provides a shooting method to ensure the greatest authenticity for the creation of general feature films, and its influence is far-reaching. For example, York Rozzi's Farewell to the Philippines (1962) uses impromptu dialogues, camcorders and hidden microphones to show the imprint of real movies. Truffaut's Running (1959) shows the influence of real movies with its highly natural shooting style and social content. Godard has subjective intervention in many of his films, and even directly adopted the method of real movies.

French film critic Nino-Franck created a phrase in 1946, inspired by the word black novel. It mainly refers to the films made by Haocaiwu in the 1940s and early 1950s, with the dark streets of the city as the background, reflecting the crime and depraved world. Film noir is not an independent film genre. It is interwoven with many traditional film types, such as robber films, westerns and comedies. Although its theme is mainly criminal activities, not all crime movies can be classified as film noir.

It has the following characteristics:

1. There are many scenes in the dark, both interior and exterior, which always give people a gloomy and terrible future. By the sense of crisis;

2. Adopt German expressionist photography style to create an illusion of a nightmare world, with strange and deep shadows and gloomy colors;

3. The protagonist is often a rebellious figure with dual personality, full of hostility to the surrounding world, disappointed and lonely, and finally finds a home in death;

4. It is customary to use flashback or first-person narration as a means to describe psychology. Therefore, film noir can be said to be a combination of American violence theme, German expressionist photography style and French existentialism.

In the 1940s, black films entered a prosperous period. In the mid-1950s, the audience gradually decreased, Hollywood turned to new styles, themes and technologies, and black films gradually disappeared. Representative works include: john huston's maltese falcon (194 1), billy wilder's train murder (1943), Howard Hawkes' Sleeping (1946) and Dai Garnett's Slut Complaining. Orson welles's Strangers (1946) and Women from Shanghai (1949), Otto Priminger's Laura (1944), fallen angels (1948) and The End of the Sidewalk.

Film noir: Bring darkness to light.

Film noir sometimes refers to some low-key and escapist French films during World War II. The creators of these films are unwilling to meet the political demands of Vichy government and deliberately avoid contact with real life. In addition, the post-war generation of French directors once had a strong interest in film noir. For example, Jean-Bill Melville tried to restore the artistic reputation of black films in 1960s, and made a series of films with the basic characteristics of black films, such as Pain (1962), Second Breath (1966) and Japanese samurai (1966).

Free cinema

Free Cinema is the general name of six sets of experimental films shown by British National Information Cinema from 1956 to l959, and it is also the name of a film movement represented by these series of experimental films. From 65438 to 0956, the Experimental Foundation of the British Film Society and Ford Motor Company of the United States jointly funded a group of young people who were interested in "reviving the British film art" to shoot a number of short films, which were shown in the British National Information Cinema one after another. During the film screening, these young directors jointly issued some statements, announcing that their creative purpose was to challenge the conservative ideas of society and the film industry. They emphasize the social responsibility of artists and demand that they pay attention to the theme of daily life and personal expression in their creation. They strongly hope to get rid of the commercial shackles of film production and gain creative freedom.

Movies made in the name of Free Cinema are all aimed at showing real people, but the creators of these films dare not use the word documentary to describe their films, because they think that because the British documentary movement once advocated using documentary to serve the interests of government agencies or social groups, the word documentary has the meaning of whitewashing and beautifying reality. Lindsay Anderson, the advocate of this movement, even claimed that recording technology would hinder the production of film masterpieces. Although these young directors are hostile to the film production industry, they are not opposed to cooperating with professional filmmakers. Famous cinematographers such as Walter Lassari and john fletcher have made films for them. The free cinema Movement was also closely related to the ideological trend of opposing conservative thoughts in British literary and drama circles at that time. For example, john osborne, a playwright who is famous for his anti-conservatism, once worked closely with the main figures of the free cinema Movement in film creation.

1959 the free movie movement has come to an end. In March of that year, Anderson, Carlo Reitz, Lasari and Fletcher jointly issued a statement, declaring that "free movies are dead, long live free movies!" The reason for the rapid disintegration of this movement is that it is difficult to maintain economically.

In the years since the movement existed, the following films have been made to reflect its artistic ideas: Anderson's Mom Doesn't Respond (1955), Every Day Except Christmas (1957) and Retz's We Are Stroller (1955).

After the free cinema Movement, Anderson, Reitz and Richardson joined the British commercial film production institutions one after another and became famous directors of feature films. Some films they made after the exercise and in the early 1960s, such as Richardson's Angry Review (1959), The Taste of Honey (196 1) and Loneliness of Long-distance Runners (1962), and Ritz's.

Underground movies:

Underground film appeared in the United States in the late 1950s, and it was a movement of secretly showing experimental 1 films made by individuals. Soon, the word was used to refer to all experimental films in the United States and western Europe.

From the late 1950s to the early 1960s, the new york Police Department repeatedly intervened in a film archive dedicated to showing experimental films, because there were short films showing obscene content and brazenly described forbidden themes such as sex, homosexuality, transvestite, erotic dancing and decadent lifestyle. On one occasion, the organizer of this screening was arrested. Joe Mekas, the leader of "American New Film Group", was arrested. As a result, the production and screening activities of such experimental films have become more and more underground, hence the name.

The early representatives of the underground film movement were Jack Xinmi (burning creature, 1963, etc. ) and Andy Warhol (Kiss, 1963, etc. ). In their films, naked sexual descriptions and unabashed nihilism attract people's attention, rather than innovations in performance skills. As Jonas Mekas published in 1967, "Where are we-underground? -The article "New American Movies" declared: "We said to ourselves: We don't know what people are or what movies are. Therefore, we should be completely open. We will move in any direction ... we are the masters of everything. "Since the mid-1960s, more and more experimental film directors with different creative tendencies have joined the ranks of underground films, clearly proposing to make films into modernist art. Although these individual filmmakers have different styles and compete for originality, they have two common characteristics: First, they use 18mm film without exception. As a sign of opposing commercial films, it is to continue to be expressive in subject matter and advocate anti-traditional moral concepts. As Parker Taylor, an American film critic, pointed out, "The history of underground films begins with the conclusion that one of the most important functions of film cameras should not be forgotten, that is, to go deep into those taboo areas, which are too private, too shocking and too immoral for photographic reproduction. (History of Underground Film Criticism, new york, 1969)

Underground tyrant? Kang Kangmou? How is the quality? Song Qiang Xia Wei? Angel. He made many short films, but none of them were shown in public. What people see is only fragments of some long works or short films that were stolen and released after the first screening. Anger indulges in the frenzied sexual world and mysterious hallucinations, as well as his "Happy Inauguration", "The Rise of Scorpio" (1964) and.

The underground film movement also promoted the revival of abstract films: blatch created a "broken dream film", which used the connection of lens fragments and multi-layered overlapping pictures to form a pure abstract film, such as dog star man (1959-1964); Emschwiller uses dance movements to form abstract figures, such as totems (1962-1963); Robert burrell, on the other hand, continued the experiment of avant-garde films in the1920s, and drew abstract paintings directly on film, such as Breath (1963).

In the 1960s, two new kinds of abstract films appeared, namely "splicing films" and "structuralist films". A "mosaic movie" is their own work of splicing scenes cut from many other movies. Bruce Conner and robert nelson are experts in making such movies. Connor's A film (1958) spliced together thrilling scenes from many films, and Nelson's Confessions of a Black Mother in Cuba (1964- 1965) spliced together violent scenes in lottery movies and unreasonable pictures in TV advertisements as a satire on commercial films. Pat O 'Neill and Scottus Barrett's "splicing film" is to reprocess the editing lens before an optical printer or a magnetic video recorder, and change the original image and color according to the producer's subjective intention, such as Gunner's "Run" and Balbal's (1969-1970).

The feature of "Structuralist Film" is to expose the physical properties and chemical processes of the film to the audience and create a new concept of time and space. Adams Sitny, the creator of this word and the film critic of Film Culture magazine, believes that the founders of "structuralist film" are Blalacchi and Varhol, and the typical representative is michael snow. Si Nuo's wavelength (1967) is a 45-minute single lens with infinite zoom in a room about 2.5 meters long. Tony Conrad's film (1966) and George Randolph's film with handwriting, perforation and stain (1966) all belong to this category.

Since the mid-1960s, underground film movement has also appeared in western European countries, especially in West Germany, Italy, the Netherlands and Britain. The main tendency of underground films in western Europe is to shoot abstract films of structuralism. The main representatives are Malcolm Le Grice and Peter Goldhall in Britain, Werner Nekes in West Germany and Peter koppel in Austria.

Political movies, battle movies and the third movie.

First, political films.

Political movies refer to:

1. Movies that directly show contemporary real political events, political movements and political thoughts;

2. Movies that directly show the thoughts, behaviors and fate of workers, students and others who participate in these political events and political movements;

3. Movies that reflect major contemporary social and political issues. Their common feature is to pay attention to political issues, political events, political thoughts and behaviors, and the relationship between individuals and these events, thoughts and behaviors. From the late 1960s to the mid-1970s, political films have become a trend of film creation in western countries.

The word political film came into being with the film Z made by French film director Costi Costa Gavlas. Since then, a large number of political films can basically be divided into four categories:

1. A feature film that shows or is based on real people. Representative works include: a series of films shot by Gavlas in Costa, France, such as Z (1969, about the murder of Greek leftist MP Grigoris Ramsky by the military government), confession (1970, about the case of Slanski in Czechoslovakia), and the Italian film Mattel Incident (1970). Freehand brushwork about the murder of Terry's general manager Matthew Yi), American film Allen Paakkola's Presidential Team (1976, writing Watergate Incident) and Executor (writing about the assassination of President Kennedy), and British film Fred zimmermann's Day of the Jackal (1973, writing one.

2. Fictional feature films. Representative works include Confessions of a Police Chief by Italian film damiano damiani (197 1), Working Class Going to Heaven by Airiau Petrie (1972) and Waiting by Nani Roy (1972). China the Girl (1967) by Godard, Punishment Park (197 1) by the United States, Billy Jack by Frank (197 1) and so on.

3. Fantasy movies and comedies. Representative works include William Clegg's American film Mr. Freedom (1067), Italian film Band Training in Ferini (1978), Giuliano Montaldo's Closed Circle (1977) and Ruiki Comancheni's Blocking the Road.

4, news documentaries and other films. It is mainly short documentaries produced by the French Fighting Film Group (see "Fighting Film") and some American political film groups.

Political films tended to decline in the mid-1970s.

The Soviet Union also mentioned political films, but it only refers to films that "show the international class struggle".

Second, fighting movies.

Battle film refers to a non-commercial documentary that appeared in France in the 1960s and reflected the political views of the French "Left". Born in France after the "May Storm" (the "rebellion" movement of Paris college students) 1968. From 1968 to 1977, there are more than 30 groups producing and distributing such films in France, ranging in scale from four or five to dozens, including Spark Group, Unique Group, Giga-Wiltoff Group, Proletarian Film Group, Film Struggle Group and so on. They use portable cameras, 16 or super 8 mm film to shoot on the spot, usually short films. The themes are workers' struggle, farmers' struggle against exploitation, women's liberation movement, student movement, the plight of foreign workers and the anti-imperialist and anti-colonial struggles of people in Asia, Africa and Latin America. This kind of film sometimes has stories, which are performed by workers, farmers, students and so on. Generally speaking, production teams release their own films, which are mainly shown in film clubs in factories, rural areas or schools. Some sources of production funds rely on left-wing political parties, and some rely on social donations.

From the very beginning, French combat films could not be unified because of the complex political background and different political views of various groups. By the late 1970s, France's "Left" was in a state of decline due to the deepening of internal division and the confusion of political thoughts.

Third, the third film

The third film, also known as "guerrilla film". And films aimed at colonialism. It was first put forward by Cuban film directors Fernando E. Solanas and Octavian Gatino in the early 1970s. They demanded that movies be used as a fighting weapon to cooperate with the armed struggle against neo-colonialism and imperialism in Asia, Africa and Latin America. Solanas claimed that the goal of the "third film" was to expose the reactionary nature of the "first film" (an "imperialist film" represented by a lottery movie) and the "second film" (a "national film" represented by a commercial film imitating a lottery movie in Latin America).