What are the similarities and differences between literature and film and television?

Differences and exchanges between film and literature. Film and television art is a comprehensive art of sound and picture, time and space. As a language art, the difference between film and television art is obvious. However, literature and film and television art are inextricably linked and can be interlinked. First of all, the artistic image created by literature in language is indirect, while the artistic image composed of sound and picture in film and television is intuitive. The image of literary discourse requires readers to recreate actual sounds and intuitive pictures in literary texts, but they must rely on readers' imagination and association to transform or reproduce the sounds and pictures expressed or described in words into realistic artistic images in their minds. Therefore, the literary image is vague and indirect. Film and television art combines shots through montage, directly presents sounds and pictures, and attracts the audience's audio-visual senses, so its artistic image is intuitive. Secondly, literature is a linear narrative art based on time art, while film and television art is a space-time comprehensive art dominated by space modeling. As a time art, literature can gradually show the whole picture of the text by readers in the process of reading word by word and sentence by sentence. At the same time, the discussion, interpretation, narration and rhetoric of literature are all objects of artistic feeling and appreciation. As a space-time art, film and television must regard space modeling as a constantly changing process, organically integrate space modeling with the flow of time, and present a concrete image of space-time compounding for the audience. In addition, editorial comments and narration in film and television art should be used in a limited way through narration and monologue. Although there are great differences between literature and film and television art, they are also closely related and can communicate with each other. First of all, the root of the communication between literature and film and television lies in the fact that both of them belong to narrative art. As far as the influence of literature on film and television art is concerned, the narrative and narrative skills of movies were first borrowed from literature, and the stories, plots, characters and other factors in literature are still widely used for reference by film and television art after it matures. Nearly half of Chinese and foreign film and television works are adapted from literary works, mainly novels, especially those great literary masterpieces have been put on the screen many times. It can be seen that film and television art and literature are closely related, and the reference to novels inspires the creators of film and television art. Literature and film and television, as narrative arts, constantly describe things in the flowing time. As Magney, a French film critic, said, "Movies and novels are both narrative works, and narrative has its own laws, which are quite different from the laws of display." One of its basic requirements is that all kinds of programs of serial novels and all kinds of conventional techniques of movies are mostly made to maintain continuity. ⑦ Novels tell stories and portray characters in the continuity of scenes composed of words and phrases, and movies and television form screen images in scenes connected by pictures. Narration is their commonality in time continuation. This makes literature and film and television art rich in expressive force, which can show characters' personalities and destinies at multiple levels and angles, and depict complex and continuous social life. Secondly, this artistic style of the novel already contains some film factors. As a special term, montage belongs to film and television art. But as a narrative method, it has already existed in Dickens' novels. Ray-Ban once analyzed a description in Dickens' david copperfield, in which David saw his body on the beach after his childhood friend Steerforth's boat was in distress, but he took me to the seaside. Just where she and I-two children-were looking for shells-where some lighter pieces of the old boat that came last night were blown away by the wind-among the remnants of the family he had hurt-I saw him lying there with his head resting on his arm, just as I often saw him lying in school. The visual effect produced by this passage is beyond the imagination of ordinary people. It is based on the ingenious and natural connection of several different scenes, which is exactly what montage, the basic means of film, is good at. Therefore, the above writing of this novel means that "Dickens mastered this skill long before the invention of film art", and the narrative of this passage in the novel is full of visual sense, which can become a standard film display with a little modification. It can be seen that there is a cinematic way in the narrative text of literature, which can be called "cinematic" of literature. Thirdly, "cinematography" in literature is mainly reflected in the conscious use of narrative scenes in modern novel texts. Scene is a concrete event that takes place in the same place and in an uninterrupted time span through the specific activities of the characters. The scene on the movie screen is very intuitive. The narrative scene in the novel reflects the richness of life itself by depicting a visual image like a film and television, so that readers can see and hear it personally. This is also one of the important skills that literature pursues to shape concrete images with language symbols without direct perceptual function. As Sai milian said, "A mature writer always tries to create an objective impression of action in his works, just like a scene on the screen." The visual scene on the screen is the segmentation and combination of shots. The scene in the novel is a linguistic narrative of a specific visual object. Although the scenes described by language symbols do not directly affect people's audio-visual aesthetic senses, the signified meaning of language can make symbols associate with the corresponding things, so that readers can transform abstract language symbols into concrete visual images when reading. Because of this, the novel text with narrative scene as the unit has a situational element in the film. When this element is strengthened and condensed in the narrative language of modern novels by specific descriptive means, and blended with some emotional tone to form the "atmosphere" of the scene, the unique film factor of the novel can be highlighted and amplified. The communication between literature and film and television art based on narrative forms the interaction and transformation between them, which makes film and television still need to draw nutrition from literature after becoming an independent art, and literature also consciously highlights its "cinematic nature" through the promotion of mature film and television art, and enriches its narrative means day by day. The connection and difference between film and drama: TV performing arts, drama and film performing arts are basically the same in terms of creative tasks. So, are the characteristics of TV performing arts similar to those of drama and film performing arts? What is the difference between them? TV performance art and drama film performance art should be said to be exactly the same as drama film performance art in main features. This feature is that they are all an art of "incarnating into roles". Whether it is drama, film or TV performance art, the creative task is to create vivid, flesh-and-blood characters with aesthetic value. The completion of this creative task can only be achieved through the actor's own appearance in BLACKPINK, putting himself in the role with his own appearance, and finally realizing "incarnation as a role". The most important feature of "incarnation into a role" is that it points out the most important contradiction to be solved in drama, film and TV performance, that is, the actor takes himself as the carrier, turns it into one role in the script, expresses another role, becomes another role, and finally uses this as a medium to make the audience understand its aesthetic value. China opera actors have a very incisive artistic formula for the characters created by the actors. This artistic technique is "I am not me, I am me, I am not pretending who I am." From this artistic formula, it is "I"-the role created by an actor in his creation is already "non-I", and the so-called "non-I" is to become a role. Although I am still the carrier of the role, he has become the "I" of the role rather than the original actor. On the other hand, from the perspective of the actor's creative task, it is proposed that no matter who plays the role, he should reach the realm of "performance", that is, "enter the role", "integrate himself with the role he plays" and "re-embody" him to the extent of "pretending to be like himself". From this couplet-style artistic formula, we can see that it dialectically expresses the characteristics that performing arts are played by actors and must eventually be transformed into roles. Because drama and film and television performing arts have a main feature, that is, actors play roles and "incarnate into roles", they will inevitably appear in drama and film and television performing arts. The same feature is that actors present themselves with their own bodies and minds and create their own artistic figures. Television performance, like drama and film performance, has a common feature, that is, its creation is always carried out under fictional and hypothetical conditions. Although TV plays can be shot in real environment like movies, they can't be completely true. For example, even in the real environment, it is impossible to shoot war scenes with live ammunition, and scenes in the rain are often done with sprinklers. Besides, the shooting of TV series can't completely leave the fake set of the studio. This is especially true in some indoor series shooting. More importantly, the dramatic situation in a play, a movie or a TV series is completely fictitious, and an actor must be able to turn this fiction into a credible reality. Actors are obviously colleagues, but they may become father and son, brothers, sisters, husband and wife, monarch and minister, enemies, lovers and so on in a hypothetical situation. The fictional stories of life and death, right and wrong, kindness and resentment all need actors to shape them into artistic reality. Therefore, TV performance, like drama and film performance, can be said to be an art of "getting things done". This requires actors to be able to "take the fake seriously" and "trick the fake play and really do it". Only in this way will the audience believe. However, some features of TV performance are different from drama performance, but similar to film performance. The difference between them and theatrical performances is that film and television actors and dramatic actors have different positions and functions in the overall artistic creation. In drama, the actor can be said to be the center, and the actor's performance is the overall completion of artistic creation. In drama performance, the director's conception is mainly realized by the actor's performance, so in the creation of drama art, we often hear the phrase "the director died in the creation of the actor". Although the creation of stage art and other art departments has become more and more important in contemporary drama art, it is still inseparable from the premise of serving the actors' performance creation. On the stage, as soon as the curtain is opened, the actor becomes the master of a performance, and the performance of the actor often determines the success or failure of a play. So people also call drama "the art of actors". Therefore, actors become the center of drama performance. The artistic creation of TV movies is different from drama, but it is director-centered, so people call it "the art of directing". Because the completion of a TV series or a movie depends on the overall picture or picture modeling, the actor's performance is only an element in the overall picture or picture modeling. A director can't just "die in the creation of actors" when he carries out creative ideas and embodies his own ideas. What he has to consider is the overall screen or screen shape. The difference between film and television performance and drama performance lies in the difference of aesthetic consciousness. Different works of art naturally have their own unique aesthetic qualities. In drama performance, the actor pursues the beauty of stage performance, while in film and television performance, the actor pursues the beauty of the lens in the picture modeling. The first factor to break through the stage limitation is the characteristics of cameras and their documentaries, montage, recreating time and space and moving pictures. Cameras and cameras are extremely important elements in screen and screen modeling, which have unique creativity, so their participation has become an important part that must be considered in the aesthetics of film and television performance. When a dramatic actor performs on the stage, due to the distance from the audience, it is inevitable to exaggerate or even deform appropriately. For example, the performance of Peking Opera is gradually formed because it was originally performed on a platform in the wild. Not only is the performance very colorful, but so is the costume and makeup, and it also shows the characteristics of life in a deformed way. Although drama performance is closer to life than Beijing opera performance, it still has some exaggerated elements in voice, language, body and expression, considering the audience's appreciation requirements. Sometimes some very exaggerated movements, such as slow motion, need to be done by yourself. The full and proper use of these characteristics constitutes the stage beauty of a dramatic actor's performance. In the shooting of TV series and movies, cameras and video cameras break through the closed stage and the fixed perspective of the audience, and can shoot actors' performances from all angles. It can not only put the actor in a far background, but also take a close-up of some parts of the actor, such as face, eyes, hands and feet. Because the camera and video camera honestly record everything in front of the camera, it will mercilessly expose the defects, identify the age, and let all false things take in everything in a glance. On the other hand, cameras and video cameras can also create scams. For example, we can choose the right orientation and angle to beautify or uglify the people and things being photographed. Using the different properties of optical lens and the chemical properties of film emulsion, the object can be deformed. The normal walking or running of an actor can be changed into fast motion or slow motion after being processed. Therefore, TV actors, like movie actors, should adapt to the unique creative function of the camera, master the special requirements of performing in front of the camera, and create a screen image that meets the aesthetic requirements of TV. The difference of aesthetic consciousness between TV, film performance and drama performance determines that TV and film actors must learn to cooperate with cameras or cameras. In particular, the documentary characteristics of cameras and video cameras require actors to become incarnations through performances similar to the natural forms in life. At the same time, we should always consider the camera and its special creative function, and use it as much as possible to make our performance present a kind of "lens beauty" of screen modeling or screen modeling. On the other hand, as a comprehensive art, drama, film and television must be created collectively, but they all need to be completed in the overall coordinated creation. However, when a dramatic actor performs on the stage, he is relatively independent. Once a play is rehearsed and put on the stage, the actors perform on the stage completely independently. Film and television actors can't be completely like this. The final completion of TV movie performance is in the editing stage and the audio-visual synthesis stage. In a sense, the shots taken by the actors in the early stage only provide the original material for the creation of the director's screen and screen image. Directors and editors should process, modify and sublimate these materials in order to create a complete screen or screen image. Sometimes the scenes that the actors are satisfied with may be cut off, but some scenes that don't look very exciting at first are excellent after creative processing and modification by the director and editor. Even in multiple camera, when the TV series was filmed synchronously, the performance of the actors was actually in the hands of the director who directed the broadcast, and finally had to be processed and created by the director and editor. Therefore, in TV performance, actors have to pay attention to the differences of their own performances in the comprehensive art of film and television and the particularity of drama performance creation. In addition, because the production process of TV and film is obviously different from the creation process of drama, another feature of TV performance and film performance is that TV performance is not as continuous as drama performance in creation. Generally speaking, a dramatic actor performs his roles in chronological order. In drama performance, actors can shape their roles in the order of plot development in more than two hours, and strive to make the development of roles coherent, hierarchical, ups and downs, harmonious and unified. However, due to the limitations of time, place, climate, economic conditions and other factors, it is impossible to shoot in the sequence of stories. For example, the plays of characters 50 years ago and 50 years later are often scheduled to be filmed at the same time because they are in the same place. Although it happened three or two minutes later in the play, it may take some time to shoot because the scene is in a different place. This feature of TV and movies in the production process will inevitably make the creation of actors unable to continue. This discontinuity is also manifested in the fact that film and television actors must perform in a very short and independent time unit, unlike drama performances, which can continuously shape his role within the specified time. In TV shooting, the longest scene or shot is only ten minutes, and the shortest is even tens of seconds. But the shooting time may often take several hours or even days. Before shooting each shot, you should set up the plane lighting and prepare all the technical requirements to ensure the success of shooting before you can start shooting. But as soon as the camera is turned on, the actor should be able to enter the role immediately and perform these scenes for dozens of seconds or minutes vividly, just right. If there is a technical failure in shooting this scene, the actor needs to shoot the scene again. Sometimes you may have to wait many times before taking the same shot. The intermittence of this kind of shooting requires the actor to be full of improvisation in the performance, quickly and accurately enter the designated situation of the characters, grasp the feelings and discretion of the characters, and make them coherent. In fact, there are no actors who only play drama or film and television now. A truly excellent actor should be able to perform both drama and film and television drama well. In order to do this, he should understand the similarities and differences between drama, film and TV performance, and adapt to their characteristics to create accurate, vivid and vivid artistic images. 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