How to write a film review?

How to write a film review? Watching movies is a very common examination form for art enrollment in recent years. It first lets candidates watch a video or CD of a TV movie, and then writes articles as required. This fully embodies the professional characteristics of TV, and is conducive to finding good seedlings with initial TV awareness. At the same time, it avoids the contingency of proposition composition and is conducive to testing the true level. Because of this, the gap between candidates can be widened most. Different from the impression of "interview", the written test score is more specific, objective and excellent, so it plays an important role in the professional examination, and every candidate must prepare carefully. So, how to write a good film analysis? According to the past experience, some suggestions are put forward. First, don't write retrospective analysis articles. The key is whether you can accurately grasp the genre of the article. The most common mistake made by candidates is improper examination of questions, which does not meet the requirements of the examination at all and the genre is inappropriate. Write it down as a feeling of experience and review. In this way, even if the article is very literary, even if you feel good about yourself, your score will not be very high. Therefore, it is necessary to understand the difference between the feelings after watching the movie and the film analysis. First of all, the articles of Jinan Expo Art School have different genres. Feedback, experience and other articles, basically belong to the category of lyric articles, with strong lyric color; Secondly, film analysis is a kind of literary criticism, which belongs to the category of argumentative essays and has a strong theoretical color. The former focuses on feelings, while the latter focuses on discussion. The former often contains emotional sentences, such as "I am very moved after reading this work", "I am very angry" and "I am full of feelings". The latter, on the other hand, is indifferent, and generally adopts various discussion means to discuss and analyze, without pursuing emotion and "literary talent". Secondly, the identity of the author is different. When writing a review, the author is an ordinary audience; But when writing the movie viewing analysis, the author's identity has become a "commentator" and an "insider", at least he should be a "quasi-TV person" who may enter the TV industry in the near future. Since you come to apply for the exam, you should be prepared and have potential qualities, so you should cultivate your professional quality and professional awareness. When watching TV, they can't confuse themselves with an ordinary audience, but must be more careful and think more: if I am an expert and a judge, how should I evaluate it? If I am a colleague, what should I learn from him? What should I do if I am allowed to shoot? In short, you must look for people's feelings in TV, gradually cultivate professional vision, and gradually complete the evolution of roles: audience-quasi-TV people-TV people-experts. Again, different goals. The feedback is aimed at "this matter", that is, the work content; Second, film analysis is aimed at "this film", that is, the work itself. The question answered by the former is: How do you feel after knowing this? What does this give you? The latter answered this question, how to understand this work? What are the more successful places? For example, The Hard Green Dream tells the story of a afforestation model. He worked hard to plant trees for decades, but the number was cut down. If you write a review, you should aim at this matter and of course express your sadness and condemnation. When writing a film analysis, we should analyze the reasons for its award-winning and express admiration and appreciation for its successful experience. The tone of the two is obviously different. Finally, the emphasis of the article is different. The feeling of review focuses on the ideological and educational significance of the work; Viewing analysis focuses on the creative experience of works, including artistic forms. The former requires sticking to the theme and expressing feelings in connection with reality; The latter requires closely tracking the creative characteristics, analyzing its expression effect and how its form serves the content. As the saying goes, "amateurs watch the excitement, while experts watch the doorway." In short, the so-called film analysis is to tell the "doorway" of a work from the perspective of an "expert". Second, it should be clear that film analysis is an argumentative paper within the framework of the paper, and then it is a question of article layout. Frequently asked questions are as follows. 1, the full text is only one paragraph. Some people don't have the concept of paragraphs at all, and they don't divide paragraphs. They often write whenever they want, ramble, jump their minds and scratch their beards and eyebrows. Of course, this is unacceptable. 2. "Implication", or "appreciation". It usually starts with the first shot of a TV movie, followed by the second and third shots ... and makes some comments while narrating the content, which is also called "narrative discussion". This is like a Chinese teacher telling a text, reading a paragraph and telling a paragraph. This kind of writing lacks macro exercise, does not form small arguments, does not rise to theory, does not summarize, and does not meet the requirements. Another consequence is that there are too many narratives and too few discussions, and they are often top-heavy, wordy at the beginning and hasty at the end. 3. "Essay style". This often happens to students who are good at writing. They don't conform to the general routine of argumentative writing, which they call "rules and regulations" and "eight-part essay" They really want to show their literary talent, so they write literary papers, that is, essays. Of course, it is not excluded that a few top students can write excellent compositions, but they are generally not used in exams. Correct writing should follow the general framework of argumentative writing, which consists of three parts: argument, argument and conclusion. The beginning is the question, which is the argument part. There should be two meanings. First, make a brief introduction to the object of analysis (that is, this work): what's its name (title), who is the author (filmed by that station), what genre (column) it belongs to, what to say, what theme to express, etc. The second is to make an overall evaluation of this work, that is, to put forward the central argument of the whole paper, such as "this film is very successful" and so on. The middle is the subject, which is the part of questioning and argumentation. It is necessary to analyze the success of this film and what creative experience it has. It is suggested to talk about at least three aspects (or characteristics) of posts and telecommunications, write a short paragraph in each aspect and extract a comment (that is, a small argument) in each aspect. Small arguments should be incisive, neat and eye-catching, and the best summary sentences should be neat. In order to highlight small points, it should be placed at the beginning of each small paragraph, or changed into a thick inscription layout, or saved as a subtitle. You can also add "first, second, third" or "first, second, third" or use parallelism. After that, I made an analysis around this little argument, "put facts and be reasonable." It is necessary to combine the content of the film, give specific examples, describe the discussion, and analyze the expression effect while describing the relevant plot or shot to prove the correctness of your point of view. There are two tendencies to be prevented here. First, the simple narrative content has become storytelling. Second, it's just talk, or empty lyricism, without combining specific content, completely out of touch with the work, air to air, that won't do either. Please note that this part is the main body of the article and determines the level of the article. The length should represent most of the full text, and it will not work if it is short. Finally, the conclusion is the method to solve the problem, which is the conclusion part. This part is very short, mainly to summarize the full text, or point out its shortcomings, or raise hopes, or supplement explanations, or take care of the beginning. With this part, the article has a beginning and an end, intact, forming a climax, leaving a deep impression. This is the usual way to write a paper, and you can certainly master it flexibly. Don't take the "frame" as a "frame" and bind your thinking. But as far as middle school students are concerned, this format is generally more suitable. It is suggested to write a paragraph outline first, at least think about which layers of meaning to say, and then write paragraph by paragraph according to the outline. In this way, the framework of the paper is very stable, and you can make large paragraphs clear, with clear levels and prominent small arguments. Third, extract small arguments and solve the theme and structure problems. The next difficulty is to analyze them from those aspects. How to extract small arguments? This problem is generally a headache, so we might as well learn to refine it step by step from shallow to deep, from perceptual to rational. We can get inspiration from the post-review films. What are the reading tips and thinking questions that can be smelled out? What does the teacher think of your composition? If you think deeply from here, you can learn to grasp the theme (central idea), structure (paragraph) and technique (writing characteristics). I suggest you learn some common sense of literary theory. Only in this way can we find theoretical weapons and improve our appreciation ability. Such as: literature and life, literature and politics, literary typicality, literary criticism, creative methods, genres, genres, styles, etc. In particular, the concept of "typical" is widely used. I also suggest learning a little TV knowledge. Television has its own characteristics, such as: sound and shape, audio-visual integration, not limited by time and space, speaking in camera language, montage and so on. If we can understand some techniques of TV creation and be familiar with its working procedures, we can analyze it from the perspective of TV. Here are some topics for your reference. 1. theme. Theme is the theme and central idea of the work. Can be compared with similar works to see which is more profound; We can also analyze its realistic pertinence in combination with the background of the times; You can also analyze whether the topic is wonderful. 2. people What kind of person is the protagonist of the work, whether the image is distinctive and outstanding, what are the personality characteristics, what practical things are used in the work to describe, what are the characteristics of the minor characters and what is the relationship with the main characters. 3. Material selection. What materials are used to express the theme, whether these materials are true, specific, concentrated and detailed, which materials are particularly typical and the details are particularly wonderful. 4. Structural aspects. The work is divided into several parts, such as what is the clue, how to start, how to end, how to transition, how to take care of it, and whether the structure is rigorous. 5. In terms of skills. What creative techniques are used in the works (such as: comparison, expression of ambition, lyricism through scenery, symbol, seeing the big from the small, etc.). ). Are these successful, novel and distinctive? 6. news If it is a news work, it also involves many news issues. Such as: authenticity and timeliness, whether the news adheres to the principles of party spirit, mass and militancy, whether Cai Fang is in-depth and whether the support is successful. 7. This side of the camera. Television speaks with a lens, and how to use its lens language (composition, color, light, speed, subtitles, special effects, sound, etc. ), what montage techniques were used in those shots, and so on. 8. Other aspects. In addition, all aspects of creation, as long as you feel very distinctive, you can also choose. Such as: music, art, performance, broadcasting, hosting and so on. It must be emphasized that it is completely unnecessary and impossible to say all the above, as long as three or four of them are particularly prominent and obvious. You can even know one aspect of it, but it must be deep, detailed and thorough, and they must also extract small arguments. Fourth, we should comprehensively consider and master proper limit. The most important thing in writing an article is dialectics. It is necessary to comprehensively handle all kinds of relations, master the sense of proportion, and prevent extremes. 1, fully affirm the advantages and don't be picky. There is no shortage of gold, and no one is perfect. Of course, when analyzing a work, we can talk about its shortcomings, but we must master a degree. Some young people are too arrogant to spend most or all of their time talking about their shortcomings, which is very inappropriate. You know, except for special circumstances, the TV series are all good partners, even award-winning works. The correct attitude should be to affirm the advantages and eliminate the disadvantages. We should also be careful in wording and formulation, such as using "fly in the ointment" and "defects do not cover up Yu" 2. Be professional, but don't use technical terms indiscriminately. Some people are too eager for quick success. As soon as they came into contact with several technical terms, they scrambled to sit in the right position. As a result, they picked up sesame seeds and lost watermelons, leaving only "talking by looking at the camera" and becoming "talking by looking at the picture". It seems that you didn't understand at the beginning. Don't label unless you are fully sure. 3, to buckle the work, but don't stick to the work itself. Everything is interrelated, so we must compare it horizontally and vertically when analyzing it, and compare it with other works of the same theme, genre and author, so as to compare their characteristics. In addition, many works are related to the background of the times, especially newsreels, so we should pay special attention to its shooting (broadcasting) date. You must learn to watch TV before you can judge TV. It is understandable that most people watch TV for information, entertainment and relaxation. But candidates who are determined to be TV people can't stay at this level. When they watch TV, they should add the purpose of learning to improve their appreciation. They should "watch TV with the purpose of learning and learn news with a professional eye". It is suggested to learn to watch TV first and develop good viewing habits. Watch more CCTV, watch more news films, feature films, art short films and good-looking TV dramas, and watch less TV dramas. When watching TV, don't look at it with the eyes of "ordinary citizens", but look at it with questions and think while watching. First, we should understand the work, deeply feel the expression effect of each shot, analyze such good intentions, and be the creator's bosom friend. We should also discuss with like-minded students and exchange views with people around us. It's best to force yourself to write your own opinions in words, or a paragraph, or a small comment, and then ask the relevant experts and teachers to guide and practice writing several times. In order to prevent digression this year, the difficulty has been generally reduced. Some people gave hints about the composition requirements. For example, in 2002, the written test for the director major of Beijing Broadcasting Institute was: watch the short play "Fighting" and write a film review with no less than 1500 words, with the topic of self-drafting. It should include the following contents: 1. What is the theme of the work? Secondly, the language characteristics of the dialogue between characters and what is the purpose of this processing. 3. What is the most impressive scene in the play? Fourth, redesign the ending. Some simply don't use the form of composition, just answer a few questions. For example, in 2002, the TV director major of Beijing Broadcasting Institute wrote the following questions: Watch the TV movie Listening to the Rain through the Banana Window (note: it is an art feature film introducing Suzhou gardens) and answer the questions: 1. How does this TV play show the harmony between man and nature? How to express the ingenious integration of natural flowers and trees and artificial gardens? (40 points) 2. Please give an example to illustrate the meaning of the sentence "It is not difficult to get to know each other, but it is not easy to know each other". (30 points) 3. What profound thoughts and philosophies does this TV play interpret? (30 points) Such an examination arrangement limits the questions so that the answers will not deviate from Wan Li's questions. Moreover, it focuses on the understanding of the content of the expedition, and there is no high professional requirement. This is easier than writing literary criticism, but their routines are basically the same. This kind of answer can't simply list a few ribs like middle school, otherwise there will definitely be no competitive advantage. It is suggested that writing literary criticism should be based on pre-test exercises.

Title: Title of the film review-comment on the film "* * *" Part I (general paragraph): title, director (or starring role), main content and theme. The second part (which can be multiple paragraphs): comments, in the order of the lens color and musical lines of the subject. Choose two or three aspects to comment, and the order of the last four comments can be reversed.

The third part (the end, usually one or two paragraphs): summarize the evaluated content, award-winning projects (also at the beginning), and then talk about the theme, state and language, which must be professional and powerful.

That's what film reviews are written about.

The boiling point is published in:

2009-03-22 1 1:50

First time here, watch the light first. How is the light of each lens used? What is the light change in the next shot? Has the projection changed? Is there any change in the dark day? Is it cloudy or rainy?

Second, whether the space size has changed, whether there are indoor and outdoor changes in large rooms and small rooms.

Third, listen to the sound, whether it is the same period or the later period, whether each shot has sound space, what it looks like, and what changes have taken place in the sound space of the next shot.

Fourth, what is the background, the relationship with the prospect, and what changes have taken place (this is the perspective relationship).

The fifth time, is there any movement, whether the subject in the picture is moving or the lens is moving, whether it is horizontal movement (lateral movement) or deep movement.

The sixth time, whether scaling is used, whether it accurately shows the relationship between the two roles or causes the wrong relationship. Scaling is used more or less; Whether new information or meaning has been added to the translation;

The seventh time, the dynamic-static relationship is that the foreground is dynamic and the background is static; Or there is movement in the background and no prospect; Either there is both front and back office, or there is no front and back office;

Eighth time, where is the editing point, what is the picture of the picture, and what is the picture of the left picture? If a person is running, pay attention to whether the human body shape of the picture is good or bad, and what is the difference when watching it; Whether to use more switching or more overlap.

The ninth time, what is the arrangement of the characters in a shot, and is there a stage treatment for the fourth wall (that is, the people in the shot are all facing the camera in a row, just like sitting in rows in kindergarten, eating fruit. ) the actor's solo performance also strives to face the fourth wall?

Tenth, where is music used? Do you have a theme song? Is it useful? The relationship between music and character action (or performance), music and camera movement, music and color change, music and dialogue mood and rhythm, music and natural sound (that is, noise) and so on.

For the eleventh time, if it is a feature film, what is the turning point of the plot, lip or silent segment? If it's you, can you put this paragraph out silently?

Twelfth, the change of the relationship between the characters in the picture, whether there is any change, A always stands on the right side of B in the whole shot, and never goes to the left side of B, and so on.

The thirteenth time, how to use the space outside the painting as an extension of the space inside the painting, or another non-narrative space.

Fourteenth, is the dialogue written in life or staged? Is it easy to read?

Fifth, what color each lens character wears, and the relationship between them, that is, whether there is color scheduling, that is, using it as a flowing color.

Sixteenth, is the age, region, nationality and culture of props accurate?

Seventeenth, whether to use time flashback, what means to express it, is it reasonable?

Eighteen, with a long lens? What's the longest shot? Do you think it is as long as it really is? What is the relationship between the characters in this long shot? All in the picture, or one in the picture and one out of the picture (not counting before and after shooting).

Nineteenth, human voice, is it a combination of tenor, soprano, baritone, mezzo-soprano and bass?

For the twentieth time, is the close-up shot used as the visual stress in the plot?

For the 21st time, how about the combination of sound and picture? Are there any interesting places?