Review the knowledge points of the professional courses of drama, film and television literature (6)?

the film semiotics of p>28 film text is the basis of contemporary general philosophical hermeneutics and structuralist semiotics.

the concept is a narrow sense, which is used in a broad sense in this paper. Narrow-sense text refers to the combination of languages larger than sentences in pure linguistic research, and is also translated into discourse in Chinese. In a broad sense, this paper refers to any signifier texture that exists in time or space, such as music text and dance text. These usages are for the purpose that seemingly nonverbal ideographic means have an organizational structure similar to that of language text. The film text, like the general text, has different meanings on different occasions, but there are three main meanings; One is a unique article realized by a separate ideographic system; Non-unique text categories that represent a system or code, such as movie text, poetry text, etc. This paper provides the ontological significance of the original conditions for various ideographic activities and signifier production activities; The signifier (film surface and vocal cord surface) texture itself of film works. The first two meanings are commonly used. The last meaning is only used in certain situations.

29 Movie Plays

According to the experience, understanding and comments on life, the basic work of film creation is carried out by using film thinking, which involves deepening the theme, shaping characters, structuring the plot and so on. The appearance of movie plays is about 2 years later than movies, but it is earlier than movie scripts. However, in the west, because film directors overemphasize the particularity of the means of expression, they even think that what appears in the minds of film artists is not the thinking in the form of words, but the thinking in the image of the film and Montague's thinking. It is inappropriate to fix it with words, and it is impossible to provide an accurate blueprint for future films. Therefore, they do not attach importance to the basic role of film plays, and even advocate the abolition of film scripts. In recent years, there has been a phenomenon of "resurgence" in world movies. We attach importance to the role of film plays, the shaping of characters and the design of plots, hoping to add luster to films by the narrative nature of literature, such as China's internationally award-winning films story of qiu ju and Farewell My Concubine. The Oscar-winning American film "Kill Without Forgiveness" finally achieved success by successfully shaping unique and distinctive characters. There is another meaning in the use of the word "movie drama": the movie drama is finalized after the film is completed. The movie drama in this sense is different from the movie literary script and the movie story board in meaning, and it is the final form of movie drama. In this sense, all the film creators have participated in the film plays in different ways and to varying degrees.

3 film director

referred to as "director", is the leader and commander-in-chief of film artistic creation. Film is a comprehensive art of collective creation, which requires the cooperation and coordination of various departments, such as producer, performer, photographer, recorder, artist, costume, makeup, props, etc. Therefore, it is the decisive factor for the success of the film to stimulate the creative enthusiasm and artistic imagination of creative personnel in various departments and organize and unite creative personnel and technicians to work together. In the collective of the film crew, the director shoulders the heavy responsibility of command and becomes the core of the collective. After accepting the literary script, the director usually prepares the filming work with the cooperation of the producer: organizing the creative staff, analyzing the script, studying the relevant materials, establishing the creative intention, choosing the location, choosing the actors, and making a split shot, and then proposing the filming work to the producer, leading the on-site shooting and post-production until the film is completed.

31 Film Performance Art

Taking the actors themselves as creative means, the performance in front of the camera is recorded on film to shape the screen image, which reflects the artistic creation process of the film content. It is an important part of the artistic creation of feature films in movies.

The particularity of film performance is as follows:

1. The fidelity of the screen requires the performance to be life-oriented.

2. The performance handled by Montague.

3. A performance with an introverted camera sense.

4. The restriction of film creation characteristics.

5. Special creative requirements of multiple skills.

there are two types of film performances; True colors performance and character performance. There are different splicing methods to evaluate them. The diversification of film aesthetics and film style of CCTV will inevitably bring about the diversification of film performance style. Different kinds of films put forward different requirements for film performance, and also produce different styles: life-oriented performance style, dramatic performance style, comedy exaggerated performance style and so on. Various acting theories, such as stanislavski's performance system, Brecht's "alienation effect", Meyer's "Biomechanics-Organic Modeling" and Reinhardt's expressionism style, all have many influences on film performance, forming different film performance styles.

the sense of lens in p>31 film performance

refers to the relationship between film actors and camera lens and their feelings about it during shooting. The sense of lens is also manifested as an appropriate proper limit for actors to grasp various lenses during performances. The camera lens has different scenes, such as panoramic view, middle view, close-up view and close-up. When shooting, there are different techniques such as pushing, pulling, shaking, moving and following. This requires actors to skillfully adapt to different shooting methods and techniques, and naturally and reasonably grasp the amplitude of their external body movements and the angle, distance and movement of the lens. We should not only learn to borrow sight, but also have the awareness of painting, that is, "in place."

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