Montague effect···

Montague is the sworn enemy of Romeo's father and Capulet (Juliet's father) in Shakespeare's famous tragedy "Romeo and Juliet". Another: 1. The concept of montage

1. Key points of the concept of montage

Montage, which comes from the French MONTER, is a term in French architecture. Its original meaning is assembly, composition\assembly. We borrow this term from film and television art, which means that the shots are connected according to certain purposes and procedures to form a complete film and television art work that makes a qualitative leap.

Film pioneers and film and television theorists have many definitions or interpretations of montage. Such as:

Montage is the language of film directors. Just like language in life, there are "words" in montage, which are good pieces of film, and "sentences", which are combinations of these fragments.

——Pudovkin: "Film Directors and Film Materials"

From the elements of the theme being developed. Take out two fragments A and B and juxtapose them to form an image that can express the content of the theme most clearly.

——Eisenstein: "Montage in 1938"

Rohm believes: "This is the artist's idea, his thoughts, his vision of the world. This vision is reflected in how to choose the lens and lens contrast to make the film action the most expressive and capable. Introducing a form of deep thought" (Rom: "A Brief Theory of Montage"); Metz believes that montage in a broad sense is "a combination of realistic elements organized into a film chain through appropriate methods"; Jacques 6?1 Austrian Meng et al. believe in "Film Aesthetics": "Montage is the principle that determines the composition and form of the elements through the juxtaposition and connection of the visual and sound elements of the film, and (or) the determination of the length of time, or in other words, these elements "The famous Chinese director Zhang Junyang believes that "montage means at least the following aspects: (1) the organizational relationship of the picture (shot); (2) the organizational relationship of the sound and music; (3) the picture and sound. The organizational relationships of music; (4) The meanings and functions arising from these organizational relationships. "(Zhang Junxiang: "About the Special Expression Means of Film") I believe that montage is an important means of expression in film and television art, and it is the form and composition of film and television. The overall name of the method. The unity of sound pictures and montage gives film and television the ability to reproduce the real world in all forms of movement. Montage is a special language of film and television that is comparable to the language of literature and music.

As a unique language of film and television, montage has rich connotations and complete concepts. Mr. Deng Zhufei summarized the montage theories from various countries in the world into nine types in his book "Montage Principles":

1. Montage is a method of lens editing;

2. Montage is a method of combining shots;

3. Montage is a conflict between shots;

4. Montage is a method of dealing with reality;

5. Montage is a method of imitating the attention of the observer;

6. Montage is a special technique in movies;

7. Montage is the decomposition and combination of actions:

8. Montage is a method of structuring scenes and paragraphs in movies;

9. Montage is a way of shaping time in movies.

Montage is a method of structure held by film and television. Its function arises from the combination of different shots. It has the function of organizing, creating, and adjusting rhythm. In my opinion, montage should be understood from the following aspects.

(1), Montage Principle

Montage has its own set of principles, namely the montage principle. Its principle does not come out of thin air, but has sufficient basis in life, physiology, visual and auditory aesthetics and psychology. Cameras and video recorders represent people's eyes, and lenses reflect people's habits and ways of observing things and exploring the connections between various phenomena. They can be used to look far, far away, wander, and scan at a macro level; they can also be used for close inspection, deep exploration, and microscopic scanning. Examine. The lens is as flexible as the eyes, either up and down, front and back, left and right, forward and backward, looking continuously, or looking at each other, completeness and division, stillness and flow, narration and jumping, imitation and selection, reproduction and expression, clarity and Fuzzy... TV aesthetics and observation actions are formed according to the time, place, people, emotions and scene conditions, and based on specific media factors.

A movie, TV series or TV art film is always connected by multiple lens groups. "No sound is heard, no object is written". Only a single lens cannot constitute a modern film and television. of works. Montage is the child of mobile photography and editable, adhesive wave plates. It is one of the main narrative means and expression means of film and television art. A TV film or TV series is always divided into many fragments. The method of combining several fragments into scenes, several scenes into paragraphs, and several paragraphs into a movie is called montage. It is "a method of segmentation and combination developed to an extremely perfect form with the help of film technology" ("Pudovkin's Collected Papers" p. 15l). Pudovkin believes that a shot is just a word, a concept of space, a dead object. Only when placed together with other objects can it be given the life of a film.

The first people to seriously explore the mystery of montage were the famous old Soviet director Kuleshov and his students Eisenstein and Pudovkin. Kuleshov once conducted such a montage experiment: he selected a close-up of the expressionless face of the famous actor Mozyushin from an old film, and connected three different shots in front of it - a plate of soup. , a coffin, and a little girl playing, which lead to different meanings of "hunger", "sorrow" and "love". This experiment is known as the "Kulishov Effect". Pudovkin also conducted similar montage experiments of "showing cowardice" and "showing bravery". When a person faces a pistol, whether he has a "frightened face" or "a person smiling", the effect is completely opposite. The former is cowardly, The latter is brave.

1． A person is laughing

2. Pointing the pistol straight - showing cowardice

3. Frightened face

1. Frightened face

2. Pointing the pistol straight - showing bravery

3. A man is laughing

Through the above experiments, Pudovkin came to the conclusion that each individual shot is dead material, and only by combining them can it gain life. However, in fact, every single shot has its potential. Pudovkin is biased. He only emphasizes the combination of shots, but ignores the significance of a single shot. Remember: a single shot is an integral part of the entire film. The content of a single shot often determines the meaning of the assembly. In the Soviet montage school, there were differences between Eisenstein and Pudovkin. Eisenstein advocated that "montage is conflict", while Pudovkin advocated that "montage is just a combination of shots." The former emphasizes the conflict between two elements to create new concepts; the latter focuses on strengthening the narrative power of the film. 'It is to illustrate a theme,

Eisenstein was very knowledgeable. He was fluent in English, French, German, Spanish, and also studied Japanese. He discovered in Japanese Chinese characters and Chinese hieroglyphs that the structure of Chinese characters contains montage factors, for example: mouth ten dogs = barking mouth ten crows = sounding mouth ten mouths ten mouths = pin

Eisenstein Fascinated by hieroglyphs, tracing their Chinese roots and radicals. For example, the word "horse", no matter "riding", "chi", "cheng", "jun", "ji", "drive"... still maintains the meaning of this radical character - the image of a horse; drawing parallels. ,learn by analogy. "Tears" is a conventional image of water plus a person's eyes; "listen" is the image of an ear leaning against a door; "endure" is a knife with a heart underneath it, that is, a hand blade. Ten Hearts = Tolerance. It's a pity that Eisenstein has not read Ma Zhiyuan's "Tian Jing Sha" and other Chinese classical poems, nor can he read the article "Movie Montage and Poetry's Fu, Comparison," co-written by Xu Changlin, Li Changgong, and Wu Tianren

"Xing", otherwise, you will get greater inspiration and extension. Take "Tian Jing Sha" as an example:

Withered vines and old materials are dim crows, small bridges and flowing water are home to people, the west wind blows and the thin horse is on the ancient road, the sun sets in the west, and the heartbroken people are at the end of the world.

This Xiaoling has only 28 Chinese characters, including 12 relatively independent image shots. The first sentence uses the deteriorating scenery - "withered vines", "old trees", "dark crows", just as Bella?6?1 Balazs said: "Once the upper and lower shots are connected, it turns out that there are hidden objects in each shot. The extremely rich meanings in it are emitted like sparks. "From quantitative change to qualitative change, that is, the three image shots constitute a unified new meaning - "desolation". Eisenstein believed that the sequence of several montage shots was not addition, but multiplication—the product of two numbers. The second sentence is also three image shots - "small bridge", "flowing water" and "people's house". The three pairs are arranged and collided, forming a new tone - "solitary dwelling". It is quiet and far away from the world, but also isolated and lonely. The third sentence also has three image shots - "ancient road", "west wind" and "thin horse". One continuity, one symbol and one association, the three image shots constitute the theme of "Wandering" (wandering on the ancient road without fragrant grass). New idea. The combination of the fourth and fifth sentences - "The sun sets, and the heartbroken people are at the end of the world" means "hurt time" (the sunset falls, good times don't last) and "nostalgic" (relatives are far away, and the heart is full of sorrow). The whole poem is written with ink as precious as gold, and all the scenery and words are words of love. "There is a true meaning in it, but I have forgotten to tell it" (Tao Qian). It’s not something I can explain clearly... If the truth lies between the lines, then the secrets of television art are often hidden in the gaps and combinations between the two shots.

Montage is a unique structural method of film and television art, and it is the structural method on which television art works are founded. It is equivalent to the grammar of an article. Therefore, it is very important for the director to not only study the performance of different scenes, but also pay attention to the connection of the shots. The artistic effect produced by the director's use of shots should be based on Meng Daqi's conception, which controls the purpose and weight of each shot, divided into length, speed, priority, thick ink and light strokes, or highlighting, passing, or Microscope, or glance, or rendering, or outline, or continuity, or jumping, or symbol, or metaphor, or suggestion, or suspense, or anaphora, or flashback, or association, or contrast... well-proportioned, alternating and orderly , music and painting are intertwined, and the sound and color support form an artistic chapter with a montage structure.

(2) Montage way of thinking

Montage is the way of thinking that film and television artists understand and understand life and the artistic technique that reflects life. That is, montage thinking - image thinking. Film and television directors use the language of montage to envision future works (films and television films). When conceiving, we focus on lens design and mobilize various elements of film and television (including visual elements and auditory elements), including light, sound, color, scenery, objects, space, composition, special effects, etc. It can be said to be the beauty of sound and painting. It integrates audio-visual entertainment, integrating performance, photography, scenery, art, props, costumes, recording, architecture, and makeup into one. Relying on the overall artistic grasp, relying on lens assembly, and relying on "imagination and image

flying far away" to produce visual images, forming a series of future screens with "shapeless shapes and imageless images" The image has sound and picture, it is thousands of miles in size, and the scene is thousands of times, vivid and vivid.

With montage thinking, the director has the shots in his mind and the score (including the overall concept and sound score) in his mind, announces the shooting step by step, and conducts pre- and post-production according to the script and sub-shot script. Art processing, and finally the finished TV art product.

(3), Montage artistic aesthetics

As a rhetorical device in film and television, it causes strong artistic effects through metaphors and rhythm.