Reference examples of film papers

As an important carrier of culture, movies have become an important way for people to understand the outside world. The following is what I collected for you. W

As an important carrier of culture, movies have become an important way for people to understand the outside world. The following is what I collected for you. Welcome to read the reference!

1 The aesthetic value of the small-budget film "Mom and Dad are not at home"

The movie "Mom and Dad Are Not at Home" is about an ordinary middle-class family in Singapore under the shadow of the 1997 financial storm. Naughty son Le Jia often gets into trouble at school, and his parents are busy at work, so a Filipino maid Teresa is invited to take care of the family, and the story begins. In the film, everyone in the family bears their own cross-pregnant mothers often can't work at home and can't work; The unemployed father struggled in the depressed economic environment; The constant friction between Teresa and her young master is heartbreaking, and at the same time, she has to be an infant child to support her hometown. My son, Le Jia, was short-tempered and mischievous. At that time, he was fascinated by the national 4D lottery craze. Under the shadow of the 1997 financial turmoil, the whole family is quietly changing.

"Small country, small budget, small scale", director Anthony Chen used several "small" to describe his films. However, it is this movie, which can't be smaller. In the end, Carp yue longmen became a "big winner", leaving behind many "blockbusters" in China film industry. So far, "Mom and Dad Are Not at Home" has won more than 19 awards internationally, including the "Taiwan Golden Horse Award", one of the highest awards in the Chinese film circle. Cannes Film Festival Golden Camera Award, one of the three major international film festivals. At the same time, the film has been released all over the world, and the box office has achieved great success. This series of awards and box office, as if the China film circle just uncovered a small cloud under the cover of a large film, let people see the new strength and dawn of China's small-budget movies again.

Realistic line

1. The authenticity of the plot

Bazin thinks: "The aesthetic feature of movies is to reveal the truth, which does not need subjective intervention." My parents are not at home is a typical realistic film. The whole movie is like a big tree, standing there quietly, without noise, judgment and emotion. Looking at the representative works of China's low-budget films, it is not difficult to find that paying attention to real life has always been an important feature. In Cheng Xiao's films, quite a few works are created or written by the directors themselves. Therefore, the author's distinct personal feelings are often revealed in his works. In My Parents Are Away, Anthony Chen is both a director and a screenwriter, and the initial inspiration for writing the script comes from his childhood experience. In the film, Le Jia, his parents and Teresa are all projections of his childhood memories, and the relevant plots in the film have really happened.

Anthony Chen said frankly: "A 90-minute life story seems simple, but after nearly three years of mending, everything is only to reflect the word' truth'." Precious memories from his own growth trajectory have added many highlights to the script. His brushwork almost penetrated into every aspect of this family life, vividly and accurately showing the respective personalities and characteristics of a family of four. The genius of "Mom and Dad Are Not at Home" is that the director showed the social tension at that time in a family way. Halfway through the story, it is fast and accurate, which does not affect the rationality of the story at all, but is more grounded.

Director Anthony Chen described his views on the plot of this film: "I'm interested in characters, but I'm not interested in drama. My play is to catch all things that have a sense of distance and then connect these things in series. This is a play, not to say that it must be written as a play. I always tell people slowly, then spread stories, connect slowly, concentrate and concentrate. " In the movie, the family itself is like a huge container, containing all the secrets and barriers. But with the development of the plot, there has been no real outbreak, and there has been no fierce quarrel or injury. Whether parents or children, employers or servants, everyone is immersed in their own problems, and everyone is a bystander of others' problems. At first glance, there seems to be no contradiction, but contradictions are everywhere. In the switching of perspectives, the audience seems to have the role of God. We can't see the ups and downs, everything is only true.

2. Life flow expression

It is Anthony Chen's special expression to convey the inner feelings and activities of the characters with short dialogues and a lot of life flow performances. My parents are not at home has few lines, but Anthony Chen thinks, "I don't like to say everything for nothing, and the dialogue is usually bad." So I will say less. I often ask myself, do you really need to shoot so clearly? The audience really doesn't understand? " From a macro point of view, a family's feelings, whether love or hate, are usually not straightforward. This introverted "tradition" is probably the common fault of most families in China. Anthony Chen just grasped this special emotional expression, leaving this intentional gang in the film "blank" and better conveying the film temperament of "not judging, just telling".

3. Original ecological texture

According to the emotional changes of the characters in the film, the photography of "Mom and Dad Are Not at Home" alternately uses hand-held and fixed lenses, making a picture relaxed. However, due to the limitation of the family theme of the film, the expressiveness and stylization of photography are much more restrained than other small-budget films. But it didn't weaken the appeal of the story at all. Breath and air are revealed everywhere in photography, which is very textured. Short-focus wide-angle lenses are often used in movies to "pull people" and create a sense of distance. For example, mother and maid Teresa had a conflict over a cigarette butt. There are two people in the picture, one is far and the other is near. Teresa looks very small in the composition, which sets off the helplessness of the characters. The status of the two servants is clear at a glance.

Conservation of two or three elements

Dig the truest human nature with plain and personalized lens language and story elements closer to life. In "Mom and Dad Are Away", there are three things hidden in each shot, which Anthony Chen calls "shape, energy and tension". The plot of "Mom and Dad Are Not at Home" does not depend on the transformation of the drama, but on the transformation of "shape", the size of "energy" and the expansion of "tension".

1. Generation and transformation of shapes

In My Parents Are Away, the so-called form refers to: the shape of characters, the composition of pictures, and the information of sounds. In the film, it is not necessarily the dialogue that supports a scene to continue, but the change of shape. When a "shape" in the film begins to stabilize, its elements will gradually change, either the picture or the sound. This "law of conservation of change" can be seen everywhere in movies.

The most typical change of this style is the scene where Teresa bathes Le Jia. The whole scene was completed by two long shots for 1 16 seconds. In the play, the camera moves with two people, and the two people alienate each other and let go of their bad feelings. Dialogue is hardly helpful. On the contrary, the changes of pictures and sounds, combined with the performance of actors' life flow, explain the emotional changes of the two. According to the change of modeling, the whole scene also exudes a unique aesthetic feeling that is shy.

2. The mutual conservation of energy and tension

In the absence of my parents, the so-called energy and tension are mutually conserved. Energy refers to the change and extension of characters' emotions, which changes according to the change of lens length. Tension refers to the change of the relationship between characters and the turning point of the plot. The energy in the film lies in the generation and transformation of characters' emotions in a scene, and then it becomes the energy of each shot. Once a scene becomes dull, tension will come in and the expansion kit of tension will become energy. At the end of each scene, before the time and energy of the long shot disappear, cut it off and connect it to the next tense picture.

In the scene of Tomb Sweeping, when a family of four left the cemetery, the car broke down, and the father and the maid Teresa exchanged their driving positions, and the tension began to expand. The people pushing the cart changed from the maid and Le Jia to the father and Le Jia, and the leading driver in the play changed from the father to the maid Teresa. The positional relationship and emotions of the characters in the whole scene have been changing. Finally, with everyone's efforts, the car started smoothly and sublimated the mood of the whole scene. Before the "energy" disappeared, the shots of the mother who could not help but be pregnant were immediately connected, injecting new tension into the sublimated emotions in the previous shots, and the complex emotions in the mother's heart were transformed into new energy in the shots, supporting the film to move down. This series of "conservation of energy" is amazing and shows the director's profound skill.

Conclusion:

Since 1990s, after decades of development, China's small-budget films have gradually formed their own creative and artistic features, which have aroused heated discussions in Chinese-speaking areas and even around the world and won numerous praises.

Taking Mom and Dad Are Away as an example, this paper analyzes and studies the * * * nature of small-budget movies in creative characteristics and aesthetic value; Thus, despite the restrictions of market, region and social ideology, China's low-cost films can still produce many excellent works and make important contributions to China's films.

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