Montage genre and montage skills

montage

French (montage [mcn5tb: v, 5mntidv] n. montage, transliteration of the combination of literature, music or art), originally an architectural term, means composition and assembly. One of the main narrative means and expressive means of film creation. The film combines a series of shots taken in different places, from different distances and angles and in different ways to describe the plot and portray the characters. However, when different lens groups are connected together, they often have meanings that each lens does not have when it exists alone. For example, Chaplin connected the lens of the workers entering the factory gate with the lens group of the driven sheep; Pudovkin connected the scene of melting glaciers in spring with the lens group of workers' demonstrations, which made the original scene show a new meaning. Eisenstein believes that the effect is "not the sum of two numbers, but the product of two numbers" when the lens groups in opposite rows are connected together. With the function of montage, movies enjoy great freedom of time and space, and even can form movie time and movie space that are inconsistent with real life time and space. Montage can produce a third action besides actor action and camera action, thus affecting the rhythm of the film. As early as the film came out, American directors, especially Griffith, noticed the role of film montage. Later Soviet directors Kuleshov, Eisenstein and pudovkin successively discussed and summarized the laws and theories of montage, and their related works had a far-reaching impact on film creation. Montage originally refers to the relationship between images. After the appearance of audio films and color films, the application of montage has a broader world in images and sounds (human voice, acoustics, music), sounds and sounds, colors and colors, and light and shadow. There are many names of montage, so far there is no clear grammatical norm and classification, but the film industry generally tends to be divided into three categories: narrative, lyrical and rational (including symbolic, comparative and metaphorical). After the Second World War, the French film theorist Andr Bazin (1918-1958) objected to the role of montage, arguing that montage imposed the director's point of view on the audience, limiting the ambiguity of the film, and advocated the use of depth-of-field lens and scene scheduling for continuous shooting, believing that only in this way can the integrity of plot space and real time flow be maintained. However, the role of montage cannot be denied. Film artists always use montage and long lens to create films. Some people think that the long shot actually changes the scope and content of the shot by using the action of the camera and the scheduling of the actors, and it is called "internal montage".

Montage is a general term for the form and method of film composition.

montage-is the transliteration of montage in French, originally a French architectural term, meaning composition and assembly. Later, it was borrowed and extended to be used in movies, which means editing and combining, indicating the combination of shots.

in short, montage is to shoot a film into many shots according to the content to be expressed in the film and the psychological order of the audience, and then connect them according to the original idea. In a word: montage is a means to connect the cut lens groups.

Therefore, montage is a means to link the shot taken by the camera with the logic of life, the order of reasoning, the author's viewpoint tendency and its aesthetic principles. First of all, it is a means of using a camera, and then it is a means of using scissors.

sure. The montage of movies is mainly realized through the re-creation of directors, photographers and editors. The screenwriter of the film designs a blueprint for the future film, and the director of the film uses montage to recreate it on the basis of this blueprint, and finally the photographer uses the expressive force of the film to embody it.

In film production, the director makes many shots according to the theme of the script or film, and then organizes and edits these different shots organically and artistically according to the original creative idea, so as to make them have the connection of coherence, contrast, association, suspense and different rhythms, so as to selectively form a film that reflects certain social life and thoughts and feelings and is understood and loved by the broad audience. These forms and forms are different from each other.

to sum up, it can be seen that the basic element of a film is a shot, and the main way and means to connect the shots is montage, and it can be said that montage is a unique expression of film art.

since the smallest unit of a film is the lens, what is the basic element of this film-the lens? What does it have to do with montage? 7 As we know, a lens is a piece of film shot from different angles, with different focal lengths and at different times, and processed differently. In fact, montage has been used since the filming of the lens.

As far as the lens is concerned, shooting from different angles naturally has different artistic effects. Such as frontal shooting, cypress leaning, overhead shooting, side shooting, backlight, filtering, etc., the effects are obviously different. As far as the lens with the same focal length is concerned, the effect is different. For example, distant view, panoramic view, middle view, close view, close-up and large close-up have different effects. Furthermore, the lens after different processing will also produce different artistic effects. In addition, due to the use of spaces, abbreviations, upgrades and other techniques, it also brings a variety of different specific artistic effects. Besides, because of the different shooting time, there are long shots and short shots, and the length of the shots will also have different effects.

At the same time, when connecting scenes and paragraphs, we can choose to use different connecting methods according to different changing ranges, different rhythms and different emotional needs, such as talking, talking, scratching, cutting, circling, pinching, pushing and pulling. In a word, what kind of shots to shoot and what kind of shots to arrange together. What kind of method is used to connect the lenses arranged together, and the methods and means for filmmakers to solve this series of problems are Meng Daqi. If pictures and acoustics are the "vocabulary" for the film director to communicate with the audience, then the montage means used to form shots with pictures and acoustics and to form the rules of the film with the combination of shots is the director's "grammar".

For a film director, mastering these basic principles does not mean mastering "grammar". Montage often presents various faces in the specific content and aesthetic pursuit of each film.

for the audience, montage is from points to points. For the director, montage is first divided into parts, then cut, and then divided into parts, that is, combination. The smallest unit of cutting is the lens, so the director should write story board. As an audience, how should we appreciate the director's art from the perspective of montage? In the final analysis, montage is a way for directors to tell stories; Listeners always hope that the story will be smooth, vivid, infectious and arouse the audience's association and interest. These requirements are completely applicable to montage. The audience is not only satisfied with understanding the plot. Or generally understand the ideas of the film, but require clear and smooth perception of every link and detail of the film narrative process. The montage of a film should first be understood by the audience.

nowadays, a contemporary story film usually consists of about 5 to 1 shots. The scene, angle, length, movement form of each shot, and the way of combination of picture and sound all contain montage factors. It can be said that montage has been used since the beginning of the lens. At the same time, in the processing of the angle, focal length and length of the lens, it already contains the will, emotion, praise and criticism and ingenuity of the photographer.

In the arrangement, combination and connection between shots, the subjective intention of the photographer is more clearly reflected. Because each lens part does not exist in isolation, it is bound to have a relationship with the upper and lower lenses connected with it, and different relationships will produce different artistic effects such as coherence, jumping, strengthening, weakening, parallelism and contrast. On the other hand, the combination of shots not only plays a role in vividly describing the contents of shots, but also produces new meanings that each isolated shot itself may not be able to express. Griffith's first attempt to use montage in film history is to combine the lens of a man who is on a desert island with the facial close-up of a wife who is waiting at home. After such "combination", the audience feels "waiting" and "leaving sorrow" and produces a new and special imagination. O Plus, the artistic effect of arranging a group of short shots together and connecting them by quick cutting is very different from that of arranging the same group of shots together and connecting them by "light" or "chemical" methods.

For another example, if the following three shots, A, B and C, are connected in different order, different contents and meanings will appear.

A, a person is laughing; B, a pistol pointed at; C, the same person's face shows the appearance of fear.

what impression do these three close-ups have on the audience?

if you connect them in the order of a-b-c, you will make the audience feel that you are a coward and a coward. Now, the shot remains the same, and if we just change the order of the above shots, we will come to the opposite conclusion.

C, a person's face shows fear, b, a pistol is pointed at; A, the same person is laughing.

If you connect them in the order of C-B-A, the person's face will look frightened because a pistol is pointed at him. However, when he thought about it, he thought it was nothing, so he smiled-in front of death. Therefore, he impressed the audience as a brave man.

In this way, changing the order of shots in a scene, without changing each shot itself, completely changes the meaning of a scene, draws the opposite conclusion and achieves completely different effects.

this coherent arrangement of organizations is to use the unique montage means of film art, which is also the structural problem of the film we are talking about. From the above examples, we can see the importance of this arrangement and combination structure, which is an important means to organize materials together to express the ideas of the film. Meanwhile. Due to the different arrangement and combination, there are different artistic effects such as positive, negative, deep, rich, strong and weak.

movie master Eisenstein of the Soviet Union thinks that lens A plus lens B is not a simple synthesis of lens A and lens B, but will become a brand-new content and concept of lens C. He clearly pointed out: "The juxtaposition of two montage shots is not the sum of two numbers, but more like the product of two numbers-this fact was correct before, and it still seems correct today. The reason why it is more like the product of two numbers than the sum of two numbers is that the result of arrangement is qualitatively (or "dimensionally" if you want to use mathematical terms) far different from each individual component. Let's go back to the above example. Woman-this is a picture, the mourning of a woman-this is also a picture; These two pictures can be expressed in kind. The' widow' produced by the juxtaposition of these two pictures is no longer something that can be expressed in kind, but a new representation, a new concept and a new image. "

It can be seen that the use of montage can bring new meaning to the connection of shots, which greatly enriches the expressive force of film art and thus enhances the appeal of film art.. Regarding this topic, we can also get great inspiration from a phenomenon in physics: as we all know, carbon and diamond are two substances. As far as its molecular composition is concerned, it is the same. But one is surprisingly crisp, and the other is extremely hard. Why is it that the results of scientists' research prove that it is caused by the different molecular arrangement (character structure)? That is to say, the same materials, due to different arrangements, may produce such diametrically opposite results, which is really thought-provoking.

Bella, a Hungarian film theorist. Balaz also pointed out: "Once the last shot was connected, the unusually rich meanings hidden in each shot were emitted like electric sparks." It can be seen that this kind of "electric spark"-like meaning is "latent" by a single lens that people are unaware of, and it is necessary to "assemble" before the audience can have a new and special imagination. When we talk about montage, we first refer to the combination relationship between lenses, including the combination relationship between time and space, sound and picture, picture and color. And the significance and function produced by these connection relationships.

In a word, "montage is the connection method of the film. The whole film has a structure, and every chapter, paragraph and paragraph should also have a structure. In the film, this connection method is called montage. In fact, that is, the shots are grouped into a segment, then the short segments are grouped into a large segment, and then the large segments are organized into a movie. There is no mystery or trick in this process, which conforms to the logic of rationality and sensibility, the logic of life and vision, and looks' smooth',' reasonable', rhythmic and comfortable. This is a brilliant montage, and vice versa. There is no such simple and easy-to-understand explanation and elaboration of montage.

Montage can be divided into performance montage and narrative montage, among which there are psychological montage, lyric montage, parallel montage, cross montage, repeated montage and so on.

The montage school appeared in the Soviet Union in the mid-192s, represented by Eisenstein, Kuleshov and pudovkin. They tried to explore new means of film expression to express revolutionary film art in the new era, and their exploration mainly focused on the experiment and research of montage, and created a systematic theory of film montage, and applied the theoretical exploration to artistic practice, creating such models of montage art as Battleship potemkin, Mother and Land.

Eisenstein is a master of montage theory. In 1922, he published "Variety Montage" in the magazine "Left Art Front", which was the first programmatic declaration on montage theory. In Eisenstein's view, montage is not only a technical means of film, but also a way of thinking and philosophy. He pointed out that two parallel montages are not "the sum of two numbers" but "the product of two numbers". Battleship potemkin was shot by Eisenstein in 1925, which is the artistic crystallization of montage theory. The famous Odessa ladder in the film is considered as a classic example of montage application.

in a word, montage is a movie video technology.