The combination between movies is called

Montage means "editing" in French, but it has been developed into the theory of lens combination in movies in Russia.

Montage generally includes two aspects: picture editing and picture composition. Picture editing: a unified picture work composed of many pictures or patterns juxtaposed or overlapped, picture composition: the art or process of making such a combination. This film combines a series of shots taken in different places, from different distances and angles and in different ways to describe the plot and portray the characters. However, when different lens groups are connected together, they often have meanings that each lens does not have when it exists alone. For example, the scene of Chaplin driving workers into the factory gate is connected with the scene of being driven by sheep; Pudovkin connected the scene of melting glaciers in spring with the scene of workers' demonstrations, which made the original scene take on a new meaning. Eisenstein believes that when opposite shots are connected together, the effect is "not the sum of two numbers, but the product of two numbers". With the help of montage, movies enjoy great freedom of time and space, and even form movie time and space that are inconsistent with real life time and space. Montage can produce a third action besides the actor's action and the camera action, thus affecting the rhythm of the film. (early) morning

Montage [1]

Shortly after the film came out, American directors, especially Griffith, noticed the role of film montage. Later Soviet directors Kuleshov, Eisenstein and pudovkin successively discussed and summarized the laws and theories of montage, and formed the montage school. Their related works have had a far-reaching impact on film creation. Montage originally refers to the relationship between images. After the appearance of audio movies and color movies, the application of montage has a broader world in images and sounds (human voice, acoustics, music), sounds and sounds, colors and colors, light and shadow, etc. There are many names of montage, so far there is no clear grammatical norm and classification, but the film industry generally tends to be divided into three categories: narrative, lyrical and rational (including symbol, contrast and metaphor). After World War II, andre bazan (19 18- 1958), a French film theorist, opposed the role of montage, believing that montage imposed the director's point of view on the audience and limited the fuzziness of the film, and advocated the use of depth-of-field lens and scene scheduling for continuous shooting, believing that only in this way could the integrity of plot space and the authenticity of time flow be maintained. However, the role of montage is undeniable. Film artists always use montages and long shots to create films. Some people think that a long shot actually changes the scope and content of the shot by the action of the shot and the scheduling of the actors, which is called "internal montage".

In short, montage is to shoot a film into many shots according to the content of the film and the psychological order of the audience.

montage

Then connect according to the original idea. Bottom line: Montage is a means to connect the cut lens groups. Therefore, montage is a means to connect the shots taken by the camera according to the logic of life, the order of reasoning, the author's viewpoint tendency and its aesthetic principles. First, it uses a camera, and then it uses editing. Of course, the montage of movies is mainly achieved through the re-creation of directors, photographers and editors. The screenwriter of the film designs a blueprint for the future film, the director of the film recreates it with montage on the basis of this blueprint, and finally the photographer reflects it with the expressive force of the film.

In the production of a film, the director makes many shots according to the theme of the script or film, and then organizes and edits these different shots organically and artistically according to the original creative idea, so as to make them coherent, contrasting, associative, suspenseful and connected with different rhythms, thus selectively forming a film that reflects certain social life and thoughts and feelings and is understood and loved by the broad audience. The forms and ways of these structures are as follows.

summary

montage

As mentioned above, it can be seen that the basic element of a film is the lens, and the main way and means to connect the lens is montage, and it can be said that montage is a unique expression means of film art. Since the smallest unit of a film is the lens, what is the basic element of this film-the lens? What does it have to do with montage? As we know, a lens is a piece of film shot from different angles, different focal lengths, different times and after different processing. In fact, montage has been used since the shooting of the lens. As far as the lens is concerned, shooting from different angles naturally has different artistic effects. For example, frontal shooting, overhead shooting, side shooting, backlight, filtering and so on, the effect is obviously different. As far as the lens with the same focal length is concerned, the effect is different. For example, distant view, panoramic view, middle view, close view, close-up and large close-up have different effects. Furthermore, different processed lenses will also produce different artistic effects. In addition, due to the use of spaces, abbreviations, upgrades and other techniques, it has also brought a variety of specific artistic effects. In addition, because of the different shooting time, there are long shots and short shots, and the length of the shots will have different effects.

At the same time, when connecting scenes and paragraphs, we can choose to use different connection methods according to different changes, different rhythms and different emotional needs, such as fading in, fading out, arranging, cutting, circling, pinching, pushing and pulling, etc. In short, what kind of shots to take and what kind of shots to arrange together. In what way to connect the arranged shots, the way and means for filmmakers to solve this series of problems is montage. If picture and acoustics are the "vocabulary" for the film director to communicate with the audience, then the montage means of using picture and acoustics to form shots and combining shots to form film rules is the director's "grammar". For a film director, mastering these basic principles does not mean mastering "grammar". Montage often presents a variety of faces in the specific content and aesthetic pursuit of each film. Montage is from point to surface for the audience. For the director, montage is divided into parts, that is, editing, and then divided into parts, that is, combination. The smallest unit of cutting is the lens, so the director has to write a storyboard. As an audience, how should we appreciate the director's art from the perspective of montage? After all, montage is a way for directors to tell stories; The audience always wants the story to be fluent, vivid and infectious, which can arouse the audience's association and interest. These requirements fully apply to montage. The audience is not only satisfied with finding the outline of the plot, or roughly understanding the ideas and concepts of the film, but also requires clear and smooth perception of every link and detail of the film narrative process. The montage of the film must first be understood by the audience.

Nowadays, a contemporary feature film usually consists of about 500 to 1000 shots. The scene, angle, length, action form and the combination of picture and sound of each shot all contain montage factors. It can be said that montage has existed since the beginning of the lens. At the same time, the treatment of lens angle, focal length and length has included the photographer's will, emotion, praise and criticism and ingenuity.

In the arrangement, combination and connection between shots, the photographer's subjective intention is more clearly reflected. Because each shot does not exist in isolation, it is bound to have a relationship with the upper and lower shots connected with it. Different relationships will produce different artistic effects such as coherence, jumping, strengthening, weakening, parallelism and contrast. On the other hand, the combination of shots not only plays a role in vividly describing the contents of shots, but also produces new meanings that may not be expressed by a single shot itself. Griffith's first attempt to use montage in film history was to combine the shot of a man who should have been on a desert island with the close-up of a wife waiting at home. After such a combination, the audience feels "waiting" and "leaving sorrow" and produces a new and special imagination. For another example, the artistic effect of arranging a group of short shots together and connecting them by quick cutting is very different from that of arranging the same group of shots together and connecting them by "light" or "chemistry".

For another example, if the following three shots A, B and C are connected in different order, different contents and meanings will appear.

A, a person is laughing; B, pistol pointing; C, the same person's face shows the appearance of fear.

What impression did these three close-ups give the audience?

If connected in the order of A-B-C, the audience will think that this person is a coward. Now, the shots remain the same. If we just change the order of the shots above, we will come to the opposite conclusion.

C, a person's face shows the appearance of fear, B, a pistol pointed at; A, the same person is laughing.

If you connect in the order of C-B-A like this, this person's face will look frightened because there is a gun pointed at him. However, he thought about it and thought it was nothing, so he smiled-in the face of death. Therefore, he gave the audience the impression that he was a brave man.

In this way, changing the sequence of shots in a scene without changing each shot itself completely changes the meaning of a scene, draws the opposite conclusion and obtains completely different effects.

This coherent organizational arrangement is to use the unique montage means of film art, which is also what we call the structural problem of film. From the above examples, we can see the importance of this arrangement and combination structure, which is an important means to organize the materials together to express the film ideas. Meanwhile. Due to the different arrangement and combination, different artistic effects such as positive, negative, deep, shallow, strong and weak have been produced.

Eisenstein, a Soviet movie master, thinks that shot A plus shot B is not a simple synthesis of shot A and shot B, but will become a brand-new content and concept of shot C. He clearly points out: "The juxtaposition of two montage shots is not the addition of two numbers, but more like the product of two numbers-this fact was correct before, and it still seems correct today. The reason why it is more like the product of two numbers than the sum of two numbers is that the result of arrangement is always different from each individual component in quality (in "dimension" if you want to use mathematical terms). Let's give another example. Woman-this is a painting, a woman's mourning-this is also a painting; These two pictures can be expressed in kind. The' widow' produced by the juxtaposition of these two pictures is no longer something that can be expressed in kind, but a new representation, a new concept and a new image. "

It can be seen that the use of montage can make the connection of shots have a new meaning, greatly enrich the expressive force of film art, and thus enhance the appeal of film art. On this issue, we can also get great inspiration from a phenomenon in physics: as we all know, carbon and diamonds are the same in molecular composition. But one is surprisingly brittle and the other is unusually hard. Why? Scientists' research results prove that this is caused by different molecular arrangements (lattice structure). In other words, the same materials, due to different arrangements, can produce such diametrically opposite results, which is really thought-provoking.

Hungarian film theorist Bela Balazs also pointed out: "Once the last shot is connected, the extremely rich meaning hidden in each shot is emitted like an electric spark." It can be seen that this kind of "electric spark"-like meaning is "hidden" by people's unconscious single lens. Only through "combination" can people have a new and special imagination. When we say montage, we first refer to the combination relationship between shots, including the combination relationship between time and space, sound and picture, picture and color. And the significance and function of these connections.

In a word, "montage" is the connection of movies. The whole film has a structure, and every chapter, paragraph and paragraph should also have a structure. In the film, this connection is called montage. In fact, it is to combine the lens group into a segment, then combine the short segments into a large segment, and then organize the large segment into a movie. There is no mystery or trick in it, which is in line with the logic of rationality and sensibility, the logic of life and vision. It looks smooth and reasonable, rhythmic and comfortable. On the contrary, it is not a smart montage. There is no such simple explanation and elaboration as montage.

Montage can be divided into performance montage and narrative montage, and can be subdivided into psychological montage, lyric montage, parallel montage, cross montage, repeated montage and so on.