What do you mean by modeling elements in movies?

The expressive force of modeling elements in movies is a comprehensive audio-visual art, and its main components are drama, director, photography and art. In a movie, the role of art is particularly important. It is the basis of movie modeling, and its quality is directly related to the overall visual effect of the movie. Film artists should provide powerful narrative space, sports space and psychological space for directors, photography and performance departments through basic modeling elements such as scenes, props, costumes, makeup and stunts. And provide protection for the shaping and characterization of characters. The proper use of these elements is helpful to the development of the plot, the embodiment of the theme, the performance of the character and the visual effect of the picture. On the other hand, if the modeling elements are not used properly or only the individual's prominence is emphasized and the overall expression is ignored, then the overall effect of the film will be greatly weakened and the expression of the theme will be destroyed. The following is a brief description of the expressive force of three modeling elements: scene, costume and stunt. Scene scene is the specific spatial environment in which the movie unit conversation unfolds. It is one of the basic concepts in art design. As we all know, every film will be selected and produced by the director, photographer and artist according to the specific requirements provided by the script, such as the background of the times, regional characteristics and film style, which can be said to be the first important link in film creation. The choice of scene is directly related to the specific location of the plot and the establishment of the overall style of the film. For example, The Red Mill and The Last Subway in Paris are both set in the big environment of Paris, but according to the different plots and times, The Red Mill is a musical with freehand brushwork style, which shows the life of artists, dancers, painters, stage designers and poets at the bottom of Paris in the19th century and has the characteristics of light comedy. So I chose Moulin Rouge, a famous ballroom in Montmartre, Paris, as the main scene. In the scene layout and tone distribution, unrealistic exaggeration and strong color contrast are emphasized, and these modeling elements, such as gorgeous but slightly tacky stage, decorations and props in dancers' locker rooms and bedrooms, are used to create an atmosphere and express the characteristics of a specific era and a specific group of people. On the contrary, The Last Subway in Paris took place during the German occupation of Paris in World War II. The main scene of the protagonist's activities and life is the theater, which is also the theater of the Jewish director seized by the Germans. Therefore, the gloomy light effect is adopted in the tone, creating a gloomy and depressing effect. The scene layout is simple and shabby, reflecting the characteristics of the times and the protagonist's situation. Imagine that if the scenes of the two films were reversed, it would completely violate the requirements of the script and produce nondescript effects, but now it is precisely the right expression, which makes both films widely acclaimed representative works, showing the importance of the expressive force of the scene modeling elements. For another example, although the films Old Things in the South of the City, Farewell My Concubine and Old Shop all reflect the life scenes of old Beijing, there are great differences in the choice of scenes and different emphases due to different plot contents. "Old Stories in the South of the City" mostly selects scenes of ordinary people's lives in streets and lanes, such as hutongs, wells, doorways, hanging flower doors, quadrangles and doorways, which are full of local characteristics of old Beijing. The old shop chose Quanjude as the main scene of the film according to the plot requirements. Among many scenes in Farewell My Concubine, besides hutongs, quadrangles and small streets, the most important scene is the theater in old Beijing. The selection of these scenes has strong regional characteristics, reflecting the social customs and scenes in a specific period. It provides the necessary environment for the development of the plot. As the saying goes, clothes make the man, and horses make the saddle. Specifically, in film art, clothing is not just a simple matter of people's personal hobbies and interests in dressing up. The choice and wearing of clothing should be based on the requirements of the repertoire, reflecting the personality and identity of the characters, as well as the times, regions and nationalities. Therefore, clothing is an important element of film art modeling. In the Mood for Love is a wonderful love classic. Among them, the heroine Maggie Cheung wore as many as 26 sets of cheongsam in the film length of 1 15 minutes. Ordinary audience may just marvel at the colors and patterns of those beautiful cheongsam, but as an important element of film art, these cheongsam not only play a role in showing the charming figure of the actors and pleasing the audience's vision, but also play a role in pointing to the topic. Just like the colorful cheongsam worn by the heroine, she is young and beautiful, but she is crushed by the cruelty of reality, the betrayal of her lover, and the loneliness, loneliness and boredom of life. Cheongsam plays an artistic role here. In Hong Kong in the 1960s, most ladies and gentlemen wore western-style dresses, but the designer of this film only made the heroine put on the traditional cheongsam, which was elegant in color and beautiful in design, but not tacky, just to show that she was a knowledgeable, cultured and cultured woman and admired the traditional culture of China. Therefore, when she encounters emotional loss, in the face of personal reputation, family responsibility and loyalty to love, she can't get rid of reality and dare not seek personal happiness. In this film, the expressive force of cheongsam, a modeling element, has played an obvious role. On sunny days, Ma Xiaojun and Liu Yiku wear green military casual clothes, military coats slung over their backs and shoes with ankles, all of which undoubtedly have distinct characteristics of the times. Milan's light blue dress represents her purity and exquisiteness, and becomes the idol of Ma Xiaojun. With the continuous development and perfection of 2D and 3D computer technology, the field of film stunt art has been expanding, and it has become an important part of film art modeling elements. With the participation of 3D computer stunts, living dinosaurs in the prehistoric Jurassic era appeared on the screen. When the giant, fierce and powerful Tyrannosaurus Rex opened its jaws and rushed to the camera, their "resurrection" brought unprecedented strong visual impact and shock to the audience, greatly enhancing the tension of the picture. Whether it is a three-dimensional simulated dinosaur, an alien warrior and a ship about to sink to the bottom of the sea, or Jim Carrey's exaggerated expression and feathers flying in the air, or many two-dimensional characters and animals in Disney cartoons, they all shine on the screen with the help of movie stunts. Become an indispensable part of the film. As a result, stunts, as modeling elements, have achieved a more perfect expressive force in the film. To sum up, the role of modeling elements in movies is a powerful means to shape the artistic image of movies and directly participate in the performance of themes.