Looking for a paper on film and television acting.

4. Necessary cultivation

Through the above explanation, I believe everyone will have this understanding: the analysis of a film's drama must be based on certain cultivation.

First of all, you must watch a considerable amount of movies. If a person has not watched a few movies in total, he will not be able to compare one movie with other movies and make a correct analysis of this movie. Only by ensuring a certain amount of film viewing can we understand the latest and comprehensive film creation dynamics and phenomena, and only then can we place a film in the larger creative background and environment for examination. For example, an article analyzing "The Sand Ou" said:

"Although the film "The Sand Ou" seems naive in every aspect to today's audiences, it occupies a special place in the history of Chinese films. It must be affirmed. In a sense, we can regard it as the beginning of the fourth generation of Chinese film directors and a manifesto written on the screen. Therefore, when we evaluate this film based on today. When commenting, it is much more important to examine its role in the development of Chinese films than to simply analyze its creative skills.

"From 1979 to 1980 after the collapse of the 'Gang of Four', China Movies have ushered in an unprecedented creative surge. Among them, works by a group of middle-aged directors such as "Little Flower", "Small Street", "Distressed Laughter", "The Trill of Life" are particularly eye-catching. However, amid the bustle of creation, Chinese filmmakers were surprised to find that "a day in the cave is a thousand years in the world." Due to the delay of ten years of turmoil, Chinese films have distanced themselves from world films. Although these middle-aged directors learned from excellent foreign films and borrowed many expression techniques that were still new to Chinese films at the time, such as the use of zoom lenses, time-space interlaced structures, voice-overs, high-speed shots, and popular theme songs. , rotating camera, female running male chasing... etc., but gradually they felt that blindly borrowing some superficial information from foreign movies could not solve the two major problems that Chinese movies urgently need to solve: One is the "unsatisfactory" that is generally criticized by the audience. Reality', one is the backwardness of film language. At this time, two newcomers in the Chinese film industry who were no longer too young - Zhang Nuanxin and Li Tuo published an article titled "On the Modernization of Film Language" in the magazine "Film Art". In an impassioned tone, the author calls on domestic colleagues to learn from foreign films and speed up the pace of modernizing China's film language. Although it seems today that this article's list of specific techniques in foreign films is too trivial and superficial, and lacks a systematic and solid theoretical system as a basis, the author's enthusiasm and straightforwardness still aroused an uproar in the Chinese film industry in that specific context. . This article was later regarded as the manifesto of the fourth generation of Chinese film directors, and the author of the article was the director of the film "Shagull". ”

We can clearly see that when the author grasped the characteristics of the play "Sand Ou", he did not discuss "Sand Ou" in terms of "Sand Ou", but placed the film in a larger creative background. This allows the author of the article to be immersed in the specific details of the dramatization techniques without "knowing the true face of Lushan." It can be seen that a comprehensive and objective dramatization analysis should be based on a comprehensive understanding of the development and current situation of film creation. In terms of grasp, this requires the author to pay attention to the reality and trends of film creation at all times.

At the same time, we must also see that it is impossible to do a good script analysis of a film without corresponding script theory preparation. . Let's take a look at a passage from the article analyzing "The Sand Owl" quoted above:

"Aristotle once laid down the laws that drama must abide by in the Poetics. He said : 'Some people think that the unity of the plot comes from writing only one character, but this is not the case. Because a person may have many, or even countless, experiences, some of which cannot be unified; similarly, a person may have many behaviors, some of which cannot constitute one act. ’ Based on this, he concluded that only mentioning ‘one person’ could not guarantee the integrity of the plot, and ‘one thing’ must be mentioned. Li Yu, a Chinese dramatist from the Qing Dynasty, held the same view: "Later generations write legends, but they know that they are written for one person, but they do not know that they are written for one thing." All the things that one person has done are laid out section by section, like scattered gold and jade, which can be made into pieces. If we call it the whole book, it can be like a pearl with broken threads and a house without beams. ’ But it is this commandment that "Sand Ou" wants to break. In the film, although Shaou's behavior is still unified - working hard to win the gold medal, the film is not limited to a single event. Perhaps, the author can frame the time, space and plot on the last overseas competition, and then unfold the event in a hierarchical manner according to Aristotle's rules. But this does not seem to be in line with the intention of the author of "Shaou". They are more concerned about Shaou as a person, her life experience and inner emotions. In the entire film, what constitutes the plot is not a specific event, but a long and difficult journey in Shaou's life. During this process, many events, large and small, occurred, such as 'eating beef', 'seeing a doctor', 'going abroad to compete', 'attending a wedding', 'losing my boyfriend', 'paralysis', 'becoming a coach'...all These small events form a plot necklace like pearls, and what ties them together is Sha Ou's long life course.

Although this approach seems not as exciting as using a fierce external event as the main plot line, it is closer to life and draws more attention to the development of the character's personality and the profound connotation of life. Compared with today's movies, maybe this attempt is nothing, but compared with traditional Chinese movies, maybe it really has a "life flow" flavor. ”

In this analysis paragraph, we can see that the author has a full understanding of the drama theory. Only in this way can he analyze the plot characteristics of this film in a clear-cut manner and point out its role in the plot. Therefore, friends who are interested in improving their ability to analyze a film drama must spend some time to comprehensively study drama theory, including drama drama theory.

5. Teaching materials and reference materials

Some friends will ask: "What is the difference between movie criticism and the analysis of movie dramas you mentioned? "In fact, the evaluation of a film is the same. The difference is that film analysis should not only point out where the film was handled well and where it was handled poorly, but also further analyze the reasons for these situations. Therefore, reading more film reviews usually published in magazines will be beneficial to learning film analysis skills, but if we are not satisfied with talking about the superficial phenomena of a film, we should read and learn some necessary information in depth. Works on drama theory. Now, I would like to recommend some primary reading materials to my friends:

1. Aristotle's "Poetics": This is the classic theory of drama.

Many of today's film drama theories and film creation phenomena can be traced back to this work, so it is a must-read book for those who study drama theory;

2. Li Yu's "Xian" The "Part of Songs and Songs" in "Love Occasions": Although this is China's earlier (late Qing) drama theory work, it very wisely summarizes all the important rules of traditional drama creation, so it was formulated as Beijing A must-read for film school students;

3. Xia Yan's "Some Issues in Writing Movie Scripts": Don't underestimate this thin little book, its influence on film creation since the founding of New China The power of film cannot be underestimated. It has been the basic teaching material that has long popularized Chinese film education. It is easy to understand and full of practicality;