What are the main changes in the angles of movie shots? Need answers urgently

The perspective of film images

Balazs said: "Every object itself (whether it is a human or an animal, a natural phenomenon or a man-made phenomenon) has many different aspects. Shape, it depends on the angle from which we look at it and describe its outline... Each shape represents a different perspective, a different interpretation, a different mood. A perspective represents a kind of heart. State. Therefore, there is nothing more subjective than the lens."

Section 3. The perspective of film images

Thinking questions:

①. What are the main changes in film camera angles?

②. Give an example. What different artistic effects will be produced from different angles?

1. Division of lens angles

Two major categories: vertical changes and horizontal changes.

1. Vertical changes:

① Horizontal angle; ② Elevation angle; ③ Depression angle. (Schematic diagram):

Flat angle:

The angles of most shots in movies are flat angles.

Note: The flat angle in the movie refers to the flat angle of the adult's vision level. In order to achieve special artistic effects, some films lower the horizontal angle, that is, it becomes the horizontal angle of children's vision, or even the horizontal angle of animals' vision:

Children: "Old Stories in the South of the City", "Tin Drum" ";

Animals: "Kucha", "White Bim with Black Ears".

Elevation and depression angles:

Elevation and depression angles are special angles of movie lenses.

2. Horizontal changes:

Front (0 degrees), side (90 degrees), back (180 degrees).

Front angle: Looks solemn and formal, like photographing a leader giving a report. In addition, the frontal angle is easy to express the original appearance of people or objects more accurately, objectively and comprehensively.

Side angle: looks lively and natural. It is the most used angle in a film.

Back angle: appears subtle and rich.

In a film, the so-called front angle, side angle, and back angle are not absolutely 0 degrees, 90 degrees, or 180 degrees. They should be 0 degrees > 90 degrees > 180 degrees.

2. The role of angle in movies:

Angle is extremely important in movies.

Balaz said:

“Every object itself (whether it is a human or an animal, a natural phenomenon or a man-made phenomenon) has many different shapes, which determines It depends on the angle from which we view it and describe its outline... Each shape represents a different perspective, a different interpretation, and a different mood. Therefore, a perspective represents an inner state. There is nothing more subjective than the lens."

Balázz said:

"The shape of every object in the film is composed of two shapes: one. It is the shape of the object itself, which exists independently of the viewer; the other is the shape that is transferred from the viewer’s perspective and the perspective of the picture..."

Balázz said:

“One of the basic tenets in film art is: no picture is allowed to be neutral at all. It must be expressive, with gestures and shapes.”

Every Every shot has its angle, and the angle of the shot will guide the audience's perspective and lead to the audience's evaluation of the subject in the shot.

I think: The specific functions of angles in movies are as follows:

1. Express the subjective sight of the characters in the play and express the psychological feelings of the characters in the play. Subjective shot.

("Single sight": the person in the play)

"Rear Window"

2. Show the producer's line of sight and express the producer's subjective evaluation:

("Single Sight": Producer)

"Birdman": "Birdman appears".

3. The eyes of the characters in the play and that of the audience are unified. Obtain the audience's psychological recognition.

("Double vision": the person in the play, the audience. In fact, it is also a "three vision" including the producer)

"The French Lieutenant's Woman": "Anna's departure"

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"Sunny Days": "Peeping and Dancing"

"Once Upon a Time in America" ??"Reunion with Fatty Mo"

"The Man From Fenggui" "Dancing on the Beach" ".

4. Characterization:

In "Yellow Earth", Cuiqiao was filmed carrying water several times, first from a depression angle, and later from an elevation angle.

5. The role of the play:

"A Man and a Woman" has "the heart in the hand".

"The French Lieutenant's Woman" "Meeting at the Seaside".

"One and Eight" The old smoker.

The end of "The Lace Girl".

6. Expressing unique life experience:

Hou Hsiao-hsien’s movies.

"A Sunny Day": "Throwing the schoolbag"

"A Sunny Day": "Encountering the person in the painting"

"Encountering the person in the painting" People'":

In this paragraph, when Ma Xiaojun was looking at Milan's photos alone in Milan's room, Milan suddenly came back to change clothes. Ma Xiaojun met Milan, and the "person in the painting" suddenly became a real person. Even Ma Xiaojun did not expect that there is such a big gap between the real Milan and the "painted" Milan, reality and imagination.

Core: The huge gap between reality and imagination.

Production style: rendering, emphasis.

How to express this gap?

1. Milan’s behavior:

After Milan came back, what Milan did was not romantic things such as reciting poems, painting, playing the piano, and singing. Milan realistically takes off clothes, shoes and kicks off shoes.

2. Real sound:

The first two times Ma Xiaojun went to Milan’s house, romantic music appeared. This time it's real sound.

It is worth noting that the real sound here is not to create the objective and real effect of this paragraph. The main purpose of real sound is to express the huge gap between reality and imagination through comparison. Especially the "bang" sound of the door closing after Milan went out, Ma Xiaojun couldn't help but feel shocked.

3. Camera angle:

Milan suddenly came home, and Ma Xiaojun hurriedly hid under the bed. The camera uses a low angle under the bed to shoot Milan outside from Ma Xiaojun's subjective line of sight. The functions are as follows:

①. Exaggerated movements:

The low angle of the camera makes Milan's movements more exaggerated.

②. Body deformation:

At the same time, the abnormal angle of the camera deforms Milan's body. Milan's buttocks are unusually plump, and Milan's thighs are thick and powerful. From behavioral movements to physical characteristics, these are incompatible with the romance and beauty of a beautiful girl.

③. Youngster’s Perspective:

Twenty-one, Milan’s House

Lens 354, panoramic view (low angle) I saw a pair of legs coming in from under the bed, legs coming to the bedside.

Shot 355, close shot: Ma Xiaojun is under the bed, Ma Xiaojun’s nervous expression.

Shot 356, close-up - panorama (low angle) The legs are sitting on the bed, wearing anklets on the feet. He stood up again, his skirt fell down his legs, and he kicked it up with his feet.

Shot 357, close shot: Ma Xiaojun is under the bed, reaching in with one hand to get his shoes. Ma Xiaojun retreated.

Shot 358, Panorama The feet are wearing shoes.

Shot 359, close shot of Ma Xiaojun’s nervous expression.

360-degree camera, panoramic view The girl walks towards the door.

Shot 361, close shot of Ma Xiaojun’s nervous expression. A loud slamming of the door was heard offscreen. Ma Xiaojun let out a breath, and Ma Xiaojun collapsed on the ground.

The eight shots from shot 354 to shot 361 are all shot from a low angle. The camera is under the bed, and the frames of the frame composition are the legs of the bed and the horizontal frame of the bed. Ma Xiaojun is lying under the bed. Due to the limitations of the frame (bed), Ma Xiaojun can only see Milan's legs walking around outside the window. It is up to Ma Xiaojun and the audience to associate Milan's other movements with other parts of Milan's body.

It should be pointed out: this angle, this viewpoint is extremely important.

A. When a teenager looks at the opposite sex: he can’t bear to see everything.

First of all, from a visual perspective, due to the low angle of the camera and the limitations of the horizontal frame of the bed, Ma Xiaojun could only see part of Milan's body.

Secondly, from a psychological point of view: this is the first time that young Ma Xiaojun has watched a girl change clothes, and the first time he has faced the secrets of a person of the opposite sex who has brought endless longing and fantasy to every young person. world. At this moment, Ma Xiaojun was "unexpected" and a little "nervous", "eager" and a little "dare", "excited" and a little "fearful". He wanted to see them all, but he couldn't bear to see them all. In short, at this moment , Ma Xiaojun seemed unable to accept the fact that he suddenly saw all the secrets of a girl's body

B. A young man's view of the world: one-sidedness

This is young Ma Xiaojun. The first time he looks at the opposite sex is also the first time young Ma Xiaojun looks at the world.

Because of the limitations of young people’s social life and social experience, as well as because of young people’s physiology and psychology. The characteristics of young people lead to a one-sided view of the world, such as:

First of all, young people have a strong sense of selectivity in what they see and what they don’t see. They are very selective and will not look at everything.

Secondly, young people’s views on the world will be highly subjective due to their different personalities and hobbies.

Thirdly. , Unlike adults who have experienced many hardships and accidents in life, teenagers often view the world romantically and idealistically.

And all of this, the filmmakers expressed it so vividly and excitingly through the low angle of the camera and the frame of the bed