Montage and long shots

Long shots and montages are the most basic film languages in movies. Speaking of long-range shooting, we have to talk about Bazin's long-range shooting theory.

Bazin's long lens theory.

Bazin, a French film theorist and director, whose theory is called a milestone of modern western film. Bazin's long shot theory is to explore the practical problems of movies, which is embodied in criticizing montage shots and advocating long shots. His criticism of montage is based on the authenticity and realism of the film. He thinks that montage lens is subjective because it depends on the function of connecting unrelated lenses. As the name implies, a long shot is continuous shooting, which shows actions or events relatively completely in a continuous time and space.

Scenery and composition almost close to real space. In a long-shot film, the single-shot film exceeds17m or lasts for 30 seconds.

A generation of long lenses:

1 。 The appearance of sound.

Sound can replace some functions to convey the meaning of the picture and explain some contents, and it is not necessary to switch shots frequently.

2. Using the depth of field lens, the depth of field lens can make the foreground and background images reach the same clear lens.

3。 The development of lens movement. Due to the solution of a series of technical problems, the technology of lens movement is becoming more and more mature and complex.

4。 The popularity of zoom lenses. It is a lens that combines long focus and short focus and can be focused at any time. This is suitable for photographers to focus at any time when they need lenses with different focal lengths.

The basic elements of a long shot are: scene, character and scene. How to establish the internal relationship and the function pointed by the action has become a concern of the long lens.

The richness of the use of long lenses, the alternating changes of several spatial environments, the fixed or moving camera, the moving or still people, and the distance of the scene all bring us wonderful experiences.

There are some famous long shots in the film, such as French director Truffaut's Four Hundred Shots, and the long shot of the last little boy running to the beach, which is very classic, Oscar nominated Atonement, Son of Man and so on.

Montage, French montage, was originally used in architecture, meaning "installation and assembly".

Now it's a worldwide film terminology, which is used in movies. Montage refers to the combination and composition between shots. Divide the content of the film into different paragraphs, scenes and shots, and then connect these paragraphs, scenes and shots reasonably according to artistic conception and artistic skills to become a complete artistic whole.

Narrative montage and expressive montage

According to the development law and internal relations of things, connect different shots together, describe a plot and show the connection mode of a series of events. It explains the process of things and the integrity of the plot, so when designing a picture, photographers should pay attention to the connection between the internal and external meanings of the lens. First, each shot should be a part of explaining and narrating the whole story. Second, each shot should pay attention to the continuity and inheritance between the upper and lower shots. In general, the order of shots cannot be reversed or removed at will.

The contribution of American school to movies is mainly to discuss the narrative of montage.

montage

Soviet montage school promoted the study of montage to the level of theory and even aesthetics.

Kuleshov gave an aesthetic summary of montage.

Soviet montage discusses how to combine the interrupted scenes and the complex relationship between them.

Eisenstein pays attention to the ideas and ideas conveyed between shots, and produces an intellectual montage.

Pudovkin's concern is how to reconnect disconnected films to convey feelings and emotions. And formed the concept of lyric montage.

In order to connect two unrelated shots to convey meaning, we should simplify a certain amount of information as much as possible, make the foreground the main presentation part, make the information appear on the plane of the shot, interrupt the spatial continuity inside and outside the picture, and the continuity between the deep space and the plane space in the picture. The subjectivity and compulsion of itself are slowly moving to the opposite side.

Both of them are based on the fact that the film is different from the real time and space continuity, and achieve certain creative intentions through the director's lens switching and combination.