How many people don't like Hollywood movies?

Since 1980s, in the development of China film art,

Due to the introduction of long lens style and the development of wide screen (including shading screen),

And the development of TV art,

The editing of the film was obviously affected.

Although the editing methods in creation seem to be more and more varied,

But at the same time, some concepts have become confused.

For example,

Montage and long shots are regarded as incompatible opposites.

Some people don't even know what a movie is.

It is believed that the introduction of long lens theory

Interfered with the creation of China's feature films;

Others think that montages and long shots

It's just to achieve the same goal through different routes.

Others compare "montage" with "long shot".

It just boils down to a list of "time-space interleaving" technology and long lens technology.

Lack of scientific and systematic research.

Judging from the relative space-time relationship,

With the further study of contemporary film editing,

Probably need to give up some old ideas first.

Montage is a concept in the early stage of film development (that is, silent film period).

It represents the understanding of the relationship between time and space of movies in that period.

Of course, understanding is limited.

In particular, the word "montage" is a strange word for us.

Whenever we discuss "montage", we should explain the text first.

This film has been developed for more than 80 years.

With the further understanding of the relationship between time and space of movies,

"Montage" is not enough to summarize all the temporal and spatial relations of movies.

What a narrow and wide montage,

Soviet montage,

Eisenstein's montage,

Montage in pudovkin,

Fast montage in Hollywood and so on,

Give a few examples, the more you explain, the more chaotic it is.

It is estimated that in the compilation of our various film dictionaries,

You will also encounter different understandings of the concept of montage.

This fully illustrates the existing problems.

In addition, although the long lens is a relatively new concept,

But the understanding of it is different.

Some people only understand it from the length of the lens ruler.

Some people understand from the passage,

Others opposed it from obscurity.

As to whether editing (or montage) is the responsibility of the director or the editor,

It's also a matter of words.

Hollywood's "Zero Editing Style"

Hollywood's narrative mode adopts the space-time relationship between shots,

But only to create the illusion of consistency in time and space,

In other words, give the novel an illusion of real time and space,

Hollywood demands continuity,

This is very telling. Because we want to create the illusion of real time and space,

Creators must hide themselves,

Don't let the audience feel the existence of the creator.

Therefore, since the decade of this century,

Hollywood began to form a style without style.

Except for China,

The whole world has put Hollywood's

This narrative style is called "zero degree style".

Gerald Mastel, American film theorist

In his book A Brief History of Movies, he wrote:

"The rigid formula of style is as rigid as the rigid formula of plot.

During that decade, although there were hundreds of different Hollywood directors,

But Hollywood movies, with a few exceptions,

They all look strikingly similar.

A studio system for eliminating style differences,

The difference between vague themes and stories is also consistent. ...

Any director's impulse to pursue personal style,

Before shooting, it is illuminated by the studio.

The general policies of art design, photography and editing are suppressed. "

In order to let you know a few technical terms, I now use a few pictures to express them for easy understanding:

(1) axis

Also known as relationship line, movement line or 180 degree line,

Is based on the line-of-sight direction of the object,

The direction of movement or communication between subjects.

And a virtual imaginary straight line is constructed,

It directly affects the scheduling of the lens.

As shown, A is on the left and B is on the right.

Abs are connected together to form a virtual axis.

(2) Axis principle

During the filming process,

In order to ensure a sense of unity in the scene space

And the positional relationship of objects in the scene.

And the consistency of the movement direction,

The camera must be placed on one side of the shaft 180 degrees to shoot.

This is the "axis principle" that photographers must follow when dealing with lens scheduling.

As shown in the figure, whether forehand or double shot,

The camera is always on one side of the shaft.

(3) Off-axis

Refers to the camera over the axis and shooting on the other side.

"Off-axis" will result in the position of the main body,

The confusion and dislocation of visual direction and spatial relationship,

Produce ambiguity in expression,

It is misleading, so the pictures taken before and after the axis can't be connected.

Axis is an invention and creation of Hollywood.

China's films follow the principle of axis,

Japan, France, Italy and other countries do not follow this model.

The story of Tokyo:

Classic editing mode

(1) cross clamp

Also known as cross montage,

It means at the same time,

Two things that happened in different spaces

Or multiple plot lines.

Cross-edit quickly and frequently.

Easy to cause suspense,

Create a tense and intense atmosphere and a strong sense of rhythm,

Enhance the sharpness of contradictions and conflicts,

Achieve a thrilling dramatic effect.

Often used in thrillers,

Chasing and thrilling scenes are described in horror movies and war movies.

Emphasize the simultaneity of events.

For example, Crossing the Ocean uses cross-cutting and parallel editing.

Describe the process of three childhood thieves stealing famous paintings in Paris.

The rhythm is compact and coherent.

(2) Parallel editing

Less emphasis on the simultaneity of events,

And emphasize the internal relationship between the plots.

(3) Paragraph editing

Refers to the use of continuous pictures with similar contents and attributes.

Edit at a relatively average frequency.

Paragraph editors should organize shots around a central idea.

Similar to parallelism in composition,

Similar to the "accumulation montage" in aesthetics.

Usually used to connect larger drawing units,

You can emphasize important facts or details.

At the wedding reception,

Wei Tong (gay) learned that his parents were coming to visit him in America.

In order not to let parents find clues,

And her gay boyfriend.

And his parents arranged a blind date with Wei Tong's girlfriend.

Clean the room together.

This paragraph is compact and logical.

It clearly tells a relatively complete narrative unit.

Stylistic editing

In addition, under the guidance of the French "New Wave Movie",

Discontinuous editing is a stylized editing method.

1959, French director Fran?ois Truffaut's film Four Hundred Years.

It is the leading work of the new wave movement of French movies.

It broke the classic editing principle of Hollywood,

No longer pursue the continuity of editing and the unity of time and space,

But opposed to continuous editing,

Use some personalized,

Break the continuity and unity of time and space

Unconventional editing technology-incoherent editing.

Jumping clips, also known as "jumping",

Refers to the same object in two shots,

But the camera's shooting angle and distance are not much different.

When two lenses are connected back and forth,

The picture will have a clear sense of visual jumping.

This visual jump will break the coherence of the film,

But can effectively compress the time of the upper and lower shots,

Emphasize the results of action,

Create unexpected effects.

Coherent editing pursues the illusion of true story.

However, skipping will destroy the illusion of the truth of the story.

Let the audience keep a sense of distance from the film narrative.

The lens analysis of Bonnie and Clyde

It is known all over the world that the core of the internal structure in this whole three-act structure is 180.

Axis method and normal aiming three-lens method;

Main shot (or double shot, close shot, reverse shot).

American film theorists refer to it as S/RS for short.

Here, American film theorists Vader and Leliser are borrowed.

Interpreting the Three-lens Method in Movie: Form and Function;

According to the obvious distance between the audience and the theme,

Divide all the shots into three categories: long distance, medium distance or short distance.

Professional explanation, convenient for everyone to understand:

"Three-shot method" is the classic editing mode and narrative core of Hollywood movies.

Its whole film and every paragraph follow this pattern.

① Double lens

The panorama of actors A and B can explain the spatial position relationship between A and B..

② Forward looking (forward looking)

Speak with a, a appears on the front and b appears on the back.

③ backhand (backhand)

When you speak to B, A appears as the back and B appears as the front.

Whether it's a double lens or a head-to-back lens,

Men are always on the left, women are always on the right,

The camera has been moving on one side of the shaft,

So as to ensure the consistency of the spatial relationship of the characters in the scene.

"main lens":

In order to clearly show the audience the location and spatial environment of the story,

It is often necessary to add a "main lens" in front.

It involves the location arrangement of the triangle rule, taking American Beauty as an example:

1, inside backhand skill

2. External backhand skills

In the late 1960s, with the improvement of the appreciation level of American movie audiences,

Especially influenced by European films,

There are even some young creators in Hollywood.

Also vainly trying to get rid of the traditional three-lens narrative core.

The Bonnie and Clyde by Arthur Bonn (1967) is a typical example.

We might as well analyze it,

How to use the shots at the beginning and end of this film?

This story is a true story about the robbers Bonnie and Clyde in the 1930s.

This story has been put on the screen many times.

Paine put the story on the screen again,

Mainly to show the emotional relationship between male and female thieves.

What he did was,

The main lens (double lens) in the Hollywood three-mirror method,

Take it out and do something else, don't use it,

Double shooting became the core of their emotional relationship.

In the first 5 minutes 14 seconds of the movie,

First of all, establish such a lens relationship.

1.2.3.4 —— Bonnie's smooth coordination in the room (12 ",8", 23 ",10", ***53 ").

5. External position, prone angle, Clyde tried to steal the car.

6. Inside, Bonnie walks to the window.

7. Exterior view, facade, middle view, with the action, Bonnie appears in the window and looks down.

8. A close-up of Bonnie.

9. Clyde leaned down and leaned into the window.

10. Bangfu talked to him.

1 1. Exterior view, facade, foreground, car and Clyde in the foreground, Bonnie in the background, and window on the second floor.

12. Clyde flinched.

13. Mid shot, with the action, Clyde turned around, took a few steps forward and looked up.

14. Same as 1 1.

15. Close shot of Clyde, talk to me.

16. Bonnie is in the middle.

17. Close-up of Clyde.

18. Bonnie's close-up, talking, turning her head and disappearing behind the window.

19. Close-up of Clyde.

20. In the interior, Bonnie painted from the front right and ran backstage to get dressed. Turn around and draw from the left.

2 1. stairs, elevation, Bonnie closes the door and rushes down the stairs.

22. Outside, Bonnie went out.

23. A panoramic view of Clyde.

24. Bonnie's bust, stand up. speak

25. A close-up view of Clyde. speak

26. Bonnie stepped forward.

27. A close-up view of Clyde.

28. A bust of Bonnie.

29. A close-up view of Clyde.

30. Bonnie stepped forward.

[Lens 5-30, * * 1' 0 1 "]

Let's start a set of double shots:

3 1. Bonnie shoots over the shoulder and Clyde moves forward.

32. Over the shoulder, Bonnie went to the left and drew a picture.

33. Two people walk and talk and get a panoramic view, 59 "o"

34. The two walked and chatted, and they had a panoramic view.

35. The two men walked and chatted, and they had a panoramic view.

36. The two walked and chatted, and they had a panoramic view.

37. Double lens, medium lens.

38. Double lens, medium lens.

39. Bonnie enters the picture first, Clyde enters the picture from the right, and the middle shot enters the picture.

40. Double shot, Clyde draws from the right, middle shot.

[3 1-40, * * 2' 0 1 "]

4 1. Close-up of Clyde drinking soda.

42. Take a close-up of "bang" through Dick's hand bend.

43-45. 17 seconds are both positive and negative, with a small fraction.

46. Close-up with a bang.

47-49. 15 seconds. Both sides are a small part of the lens.

50. Close-up with a bang.

Close-up of 5 1. gun.

52. Close-up with a bang.

53. Close-up of Dick.

54. Double lens on the shoulder.

55. A close-up of the gun shows Bang's hand stroking the barrel.

56. Close-up of Dick.

57. Close-up with a bang.

58-59. 13 second double lens

60. Bang and Ke are the big picture.

In the first 59 shots,

The longest group is 3 1-40,

* * * Ten continuous shooting,

Especially the French-style lens No.32, which is 59 ",

Hours account for one-fifth of these 59 shots.

The total shooting time for two people is 2'50 ".

In this way, the director visually puts the dominant double lens.

Established the lens style of the film,

Throughout the movie,

Most of these two protagonists appear in double shots.

In this way, the audience visually felt the intimate relationship between the two.

At the end of the movie, when the two men died in an ambush,

In Bonnie and Clyde, the director used a fast single-player forehand and backhand stroke.

Separate them forever. Let's do another analysis.

Since Clyde left the dual cameras last time,

When you appear alone in the camera,

By the end of the film, * * * counted 65 shots, 123 ".

Average per launch 1.89 inches (average of 5.3 inches for the first 59 launches).

In this rhythm curve,

The shortest shot in the climax is only 4 frames,110 seconds.

The last three lenses occupy 15 ",

Therefore, the forehand and backhand switching rhythm is very strong.

Forehand and backhand here

It is used to indicate that death has separated the two lovers forever.

The lens application of these paragraphs

It can be said to be a creative film language.

Audio-visual factors and Chinatown

Audio-visual rhythm is very important for editors.

The script of the American film Chinatown takes into account the factors of audio-visual rhythm.

Here, try to analyze the first 64 shots of the script from these rhythm factors (Arabic numerals are the number of shots).

L-6 bright and spacious office during the day. The hero is dressed in white. The characters are sitting.

7-8 days indoor reception room, dark light, people walking.

9- 1 1 In the indoor assistant office during the day, the blinds are pulled down, and there are more shadows than light. There is a mysterious woman in a black suit and a black hat.

12 in the morning, people came and went at the fountain outside the city hall.

13- 19 during the day, the reverberation of the tall conference hall in the interior city hall is very strong, and you can speak with a microphone.

20-2 1 outdoor grey cement bridge.

22-29 dry riverbed with yellow outdoor scenery during the day. A black car is coming. The man in black got off the bus.

At dusk of 30-32, in the outdoor park, the street lamps gradually light up.

At dusk, the scenery outside the car was photographed from the car.

34-35 dusk outside brown coastal rocks. The sound of waves and seabirds. The lens rolled up and turned into a blue sea.

On the night of 36-39, the brown rocks and beaches suddenly heard the sound of drainage, and the sparkling water filled the picture.

There are street lights and restaurant music on the location for 40 nights.

4 1 From the car to the street at night.

42-44 days indoor assistant office. The characters are talking to people in the darkroom outside the painting. Typing came from next door, and cars came from outside the building.

45-46 is the same as the telephone.

47-48 The outdoor scenery is covered with green lakes. Rowing.

49-5 1 daylight exterior, overlooking the garden from the shade of the red roof. Character activities. The sound of tiles falling.

52 days, white paper is full of pictures.

53-56 days, the barber shop with bright indoor and large glass windows has bright indoor lights, mainly white. Attract outside voices. The sound of the truck outside.

Indoor assistant office during 57-59 days, the light is dim.

60-6 1 daytime interior office, the lights are brighter than the previous scene.

During the day, the dark hall in the room was full of people and echoed strongly.

On the 63rd-65th day, the office with dark indoor light, brown fence boards, crowded furnishings and muffled sounds.

66-68 offices with smaller scenes during the day are darker.

During the day, the light in the small reception room is dim.

70-72 days, the outdoor scenery is shaded by trees, the mountain road is winding and the car is driving.

73-74 days outdoor garden, sunshine.

75-76 daytime interior, with mysterious dim lights.

77-8 1 outdoor green lawn, White House. Character activities.

82-83 days location dark yellow mountain road. The car is running.

During 84-86 days, the external reservoir was built with white gray cement and turned to the lake.

During the day, 87 bodies dressed in black were pulled out of the water.

During the daytime, the lights are on in the interior forensic office. Character activities.

During the day of 89-92, there were frequent activities of people and strong reverberation.

Within 93 days, the lobby of the interior view building has a bright light with the street as the background.

94 days outdoor parking lot. Dialogue.

95-day interior, corridor of forensic office.

96-98 daytime indoor morgue, with dark lighting and strong reverberation.

99 days external grey bridge. Quiet.

100- 10 1 day external loess embankment.

102 dusk exterior dark river bank.

103- 107 night outdoor mountain road. Driving beam.

At night 108, the lights in front of the fence of the external reservoir went out.

109 A solitary lamp outdoors at night. One shot, another shot.

1 10 The flood washed down the mountain at night.

111114 night exterior reservoir, under a solitary lamp.

115-118 indoor office during the day, quiet, telephone ringing.

1 19- 126 In the dark red restaurant in the daytime, the conversation sounds stuffy. Dialogue.

127 outdoor parking lot, dialogue.

In this 127 photo,

There are sixteen rooms of different sizes.

This not only provides conditions for the change of light,

Because it was recorded at the same time,

Reverberation sounds vary greatly,

A conversation is often not completed in one space.

In this way, the editor will get more material to write the rhythm.

Rhythm Montage or "Cai Hua Le Duan"

Rhythm montage does not mean the whole rhythm structure of the film.

It refers to a purely rhythmic paragraph.

Rhythm montage uses an urgent and induced rhythm,

That is, paragraphs full of pulsating action,

Promote this process with an unstoppable momentum.

So, on the whole,

The action in each shot is incomplete,

That is, there is no beginning and end, only the middle action with the strongest action.

The rhythm montage does not allow instant pause.

But it can also use static visual pictures,

At this time, the induced rhythm falls on the sound,

You can use natural sounds and human voices,

Music with a strong sense of rhythm is easier to undertake this task.

Because of the wonderful rhythm design,

In narrative films,

Most of the plot is temporarily put on hold here.

Mainly to give full play to the brilliant skills of the creators,

Most of them belong to "ornamental" and "ornamental" paragraphs.

Its dominant motivation runs through the whole paragraph.

So we often borrow "cadenza" from music.

A narrative film with a montage of rhythm during the silent film period,

And experimental films.

For example, Odessa Step in Battleship potemkin said,

Pudovkin's "Mother" in the paragraphs of the workers' demonstrations, all belong to this column.

In talking movies, because there are many dialogues,

The rhythm of the conversation is very loose.

It is difficult to use the actual 1/24 second frame.

So the chances of using it are greatly reduced.

Not every movie may use it.

It is often used in "intellectual montage" paragraphs which are strongly impacted by two forces.

It also has a very practical function.

Hollywood movies are old-fashioned melodramas,

Coupled with its star system, stars always play a completely stereotyped role.

So the audience can often judge the ending by genre and star.

In this case, the Hollywood movie is at the end,

There must always be a powerful "cadenza".

It doesn't worry about the audience predicting the ending,

But relying on this strongly induced paragraph,

Let the audience "have fun" and "feast their eyes"

For example, 1980 was exhibited at American Film Week.

Black colt and wild man belong to this category.

copyright statement

The article is taken from 360DOC.