Some problems in film analysis are best combined with film analysis ~ ~

The montage in a shot has to change greatly in perspective, background and so on. For example, a close-up view of a character, and then the camera zooms into a distant view or panorama. This is the montage in the lens. In the last example, it played a role in explaining the environment of a specific role. It seems that the long shot should be more gentle and express the feelings of the characters ... The above is purely personal (I belong to the category of self-study). If there are any shortcomings, please ask the experts to point them out. Thank you very much

Mise-en-scène: The word "scene scheduling" comes from French, which originally refers to the skill of dealing with the position of actors on the stage. In film art, it includes actor scheduling and lens scheduling. The conception and application of movie scene scheduling must be based on the plot, characters and the relationship between characters. Using scene scheduling, people can be portrayed on the screen, the atmosphere can be rendered, and the time interval and spatial distance can be explained, which is also an important role of modeling.

Actor scheduling is divided into:

(1) lateral scheduling, that is, the actors move laterally from the left or right of the picture;

(2) Forward or backward scheduling, that is, the actor moves longitudinally facing or facing away from the camera;

(3) Oblique row, that is, the actor moves forward or backward along a straight line with a certain angle to the horizontal line of the lens;

(4) scheduling up and down, that is, the actor moves vertically in the opposite direction from the top or bottom of the picture;

⑤ Oblique row, that is, the actor moves in the opposite direction above or below the screen along a straight line at an angle to the vertical of the lens;

⑥ Circular scheduling, that is, the actors do circular motion in the picture;

⑦ Amorphous scheduling, that is, actors can move freely on the screen. The focus of actor scheduling lies not only in the aesthetic feeling of the actor's composition in the picture, but also in the action logic of the character in the specific situation.

The form of camera scheduling is the form of camera movement, such as pushing, pulling, shaking, following, moving, rising and falling. According to the lens position, it can be divided into forward shooting, backward shooting and side shooting. According to the lens angle, it can be divided into flat shot, back shot, prone shot, rotating shot and so on.

Movie scene scheduling is an organic combination of actor scheduling and lens scheduling, which complement each other. It is a character behavior logic based on plot development, character personality and character relationship.

The combination of these two kinds of scheduling usually has the following three ways:

(1) depth scheduling, that is, in a multi-level space, with the change of the actor's position, make full use of various motion forms of the camera, such as following a character from one room to several other rooms deep in the house. This kind of scheduling makes use of the perspective relationship, so that the shapes of people and scenery can be strongly expressed in modeling and the sense of three-dimensional space can be strengthened.

② Repeated scheduling. In the same film, the same or similar actor scheduling or lens scheduling appears repeatedly, which will arouse the audience's association, understand its internal relationship and enhance its appeal.

③ Contrast scheduling. If the dynamic and static scheduling is combined with the strength of sound and the brightness of light and shadow, the atmosphere will be more intense.

Scene scheduling and montage are not contradictory. If these two special means of expression can be combined with each other, the film will be more infectious and convincing.

With the continuous development of film technology, the skills and forms of scene scheduling are becoming more and more colorful. However, we should avoid two tendencies, one is formalism that excessively pursues the effect of picture composition, and the other is naturalism that unilaterally emphasizes the truth of life.