What cinematic techniques are used in the classic movie The Pianist?

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From the perspective of camera movement, most of the shots in the film are shot at eye level, but in "The Pianist on the Sea" the director used a lot of upward shots. The switching between panoramic shots and close-ups is accomplished through the fade-in and fade-out of camera shots, overhead shots, and push-and-pull shots. This is one of the most significant audio-visual features of this film.

The film begins with a long shot, and then gradually moves to a medium shot. Max appears in front of the camera, sitting on the wet steps and wiping his trumpet. The voice-over slowly tells the audience that he Thoughts in his mind, he began to gradually recall the story.

In the picture, with different shooting angles, the position and image of the subject within the audience's visual range will change, thereby attracting the audience's attention to the subject and changing the audience's psychological reaction.

(1) The upward shot is shot from bottom to top, from low to high. The upward shot represents the upward gaze of the audience. In terms of emotional color, it often has the feeling of stretch, openness, sublimity and admiration. For example, in the film, Max stands in front of the USS Virginia, which is about to be blown up, and has a panoramic view of the ship, or in the "Piano Duel" scene, there are 1,900 pairs of Jellys holding the cigarette butts that are about to burn out. The shot from above is used here to show 1900's inner attitude towards Jelly at this time. "This is not a competition, but a learning." As the narration of the film said: "He has no competitive sportsmanship", "You can learn something new through this." "Something", his attitude towards Jelly is respectful. This is in sharp contrast to the scene at the end of this clip where 1900 stares at the dumbfounded Jelly and puts the lit cigarette into his mouth and says, "You can smoke it, I can't." It reflects the changes in 1900's heart. An overhead shot is when the camera shoots from a high to low or top to bottom angle, which represents the audience's downward gaze.

(2) Looking down from the camera makes people feel depressed, small and melancholy. The environmental description of the large panorama in this scene

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Sydo mostly uses overhead shots. Secondly, for example: after Jelly finished playing the first song, he looked down at the 1900 camera; giving people a sense of oppression and contempt.

(3) Close-ups focus people's attention on a certain scene and show the actors' facial expressions at close range. In this film, there are many close-ups, such as the arrogant facial expression of Jelly Roll Morton, the founder of jazz, when he challenged 1900, and his contemptuous smile at 1900 revealed the huge gap between the two front teeth in his mouth, one of which There is also a small piece of platinum on top to complete the tooth. These tiny things are enlarged into abstractions by the close-up of the camera, which contains metaphors. Perhaps they want to tell the audience that people in this world are constantly pursuing the glamor and perfection of appearance but ignore the huge hole in the soul, which is in stark contrast to the innocent smile of 1900. contrast. In addition, there are also the exaggerated facial expressions of bystanders when the two play the piano. Of course, the most important thing is the protagonist’s eyes. These eyes don't seem to have changed much from childhood to adulthood. They are always the same pair of clean, innocent and clear eyes as blue as the sea, possessing all the excellent qualities of the sea. It reflects the nobility and simplicity of 1900 souls all the time, without any trace of pollution or dust. The sharp contrast with the former highlights the director's tendency and ideological connotation, and the director uses a large number of shots to show these eyes throughout the film, which further illustrates this point.

(4) From a large panorama to a local close-up, multiple push and pull shots are used to switch between two scenes. The main function of the lens here is to highlight the subject, so that the audience's visual attention is relatively concentrated, the visual experience is strengthened, and a state of scrutiny is created. It conforms to people's visual psychology of observing things from far to near, from the whole to the part, and from the whole to the details in real life, and can mobilize the audience's attention to the subject. For example: when Jelly appears on the stage, the long shot starts from the rear of 1900 and moves over the crowd, fully displaying the environmental space where all characters move - the dance floor. The long lens freezes on Jelly's silhouette on the glass partition wall, and slowly pans with the silhouette until Jelly appears. Then there are two panoramic fast-cut shots to describe the reaction of the crowd on the dance floor. Then the camera pans out to a close-up of the facial expressions of the two characters. The shots alternate frequently, and the two characters Jelly and 1900 are repeatedly described in long shots, medium shots, and close shots. Then follow Jelly's gaze towards the bar counter (panning the camera) to a close-up of the wine glass and all objects except the wine glass, including Jelly. When the audience's eyes are all focused on the wine glass, the value of the wine glass has been redefined. Jelly picked up the wine glass, drank it down, and then slammed it down on the bar, as if it was his horn to launch an attack! From the sub-plot to the climax of "Duel".