مجله فانوس توانمندسازی جوانان از طریق رسانه
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“Filmmaker who wants to use en Knd.vzyfhy free from any system whose function is to analyze the whole movie we en What was this revelation, the en how to change or expand the relationship with narrative forms and other How does the narrative. “cinema
Before the advent of sound in cinema, part assembly “montage” in the film’s narrative to convey and process inevitably Brtsavyr only one of the two main elements of the film was based, and “view” the single most important Fylmyk to convey information to the viewer was accounted for. In this era, people like Eisenstein, Pvdfkyn Vkvlh Chouf Russian Formalists coined “light assembly” and Murnau, Lang and Robert Wiene Aksprsyvnysthayalmany advice Byangra “exspressionism” has gained new abilities and assembly facility in film form, which has Today, its importance has not diminished.
En in the film, especially in the light of the exponential Vaksprsyvnysty assembly of components is not their style, much attention has mainly focused on realism Theorists “realism” emphasis was put. (About Vaqnmayy deep en video resolution, theorists like “Kracauer Siegfried Kracauer, Siegfried,” and “André Bazin Bazin, Andre,” There has been speculation that the studies are considered important feature.)
However, theories assembly Vmyzansny and its use in the film talk Ryshhdaryst, which today is the proliferation of theoretical studies of academic papers “Christian Metz mets, christian,” about the semiotics of the cinema into a new stage, and up to now the rule Nyvfrmalystha “Neoformalist” on The film has been sweeping theories, and research attention has been frequent.
In this regard, besides addressing en, at the end of a brief analysis of the light assembly in the vanguard, “Sergei Eisenstein Sergei, Eisenstein,” en style of leadership “André Bazin,” we will.
En
Cinema of the cognitive component audio / visual means “sound picture” is formed in space and time. This Mnyk·h: a film that will be shown, is perceived through the sense of sight and hearing as well as the location for a specified period displayed.The film was conceived as a set of multiple images is Ks·haymthrk Vsdahay variety of props, actors, light and movement, this is set to en-known factors:
“In the theater, a term meaning” Shnhbndy “en Ast.mnay beyond the theater to indicate on the application in the production of the film, which deals with framing shots. The en implies, first: the setting, costumes and lighting; II: movement within the frame. “Susan Hayward
“Bvrdvl Bordwell,” and “Thompson Thompson,”, en they are defined as:
there. “The Art of Cinema
The above definitions of the two points en attracted our attention, one “Shnhbndy Setting” and “the scene of action,” and again on “framed” The Fylmyk as a unit. Thus, it is clear that what is happening on the scene within a frame, en are a crucial element.
“Aspects en by changes in light, shape, motion, and other visual aspects attract our attention.” Cinema
Thus, only a single image can be dominant and impressive en a “view” into account, because it will be Ajzay.myzansny in an image.
Scene
directors and owners to control the script and many other factors making the film, filmmakers, authors of “Hitchcock, Weiler, Hawks, Ford” with en videos and share creative control their own style influenced thereby always making his signature to the effect that any , Mynhadnd. Critical theory with respect to the properties of the authors and critics Kayh en the filmmakers who have achieved their ability and cognitive style.
But we get a very different scene in the movie theater. Although the film scene in “sew” the viewer into the film boasts a range of features, but also the stage for the more tangible, it has the ability to solve the audience’s perception Real and other aspects of theater decoration is thus hidden.
“Bazin long and abundant literature shows that the architectural stage with decor, mind and eyes to see us at the heart of the drama that played .lbas·hay cast, language, stage lights down, put us all in the absolute abstract that, contrary to the cinema screen in the form of a diagram Pnchrhay. “fundamental Tyvryyhay cinema
As mentioned previously Realism en noticeable effects on the films of Italian neorealism on the principle of “Ryalyth” The filming location were important factors in the study abstract or surreal films en Brkhvrdarnd.ama this does not rule out the values that although real scenes, the scene immediately introduces “establishing”, but an abstract film “abstract” or Aksprsyvn surreal presentation of applications for the transfer of sensory spaces or special characters are subjective, meaning that the scene is not realistic, It is used in the expression.
Stage in the design, placement of characters which, image composition, introduced the story of the events that occur in the context of the film, the characters can be the basis for the other components of the mental environment Yashnakht en into account.
Lighting
Undoubtedly, the light can be a component of a film conveying Byangratryn are very impressionable Vrd.mnadhy a scene from Taba ambient light is not on, a small dark space with a light “Low-key illumination” sense of confusion and fear and secrecy to the .lk·hy light in dark space to attract attention, and the light colors are rich and bright, clear and without ambiguity introduces environment.
creates a “continuous light”, and the shadows that cast light on the surface of the object to another barricade overthrows the “shadow” is called.
But what is applied to the film can have shadows? Without a doubt, the application of which, as noted in creating the film. The patterning was so certain genres, Fylmnvvar “films noirs” a characteristic dark shadows Sbkyash full extent of the dark and eerie atmosphere to create a special mystery films assists, as well as sharp and sun shades in the film Expressionism becoming The atmosphere was full of distortions Vzhn such films compatible.
The four characteristics that should be considered in the review of a film lighting:
“The quality, direction, color source»
Costumes and Makeup Artist
The narrative leads us to wear, clothes that viewers Rvanyand Angykhtarhay Chhrharayy has a subthreshold relief act and the judgment of the characters and the fictional world of film for them.
“Ladies combining narrative and thematic patterns exacerbated by the function can take movies.” Art …
But other functions on the board of a school board can fetishistic clothing fetish “” The film is a function of validity. (In this case, feminist film theory in relation to the “gaze” and dress female characters in cinema and analysis based Ngrhhay “Freud” and ” Lacan “see). Vchhrhprdazy dress in costumes. One can define the function of identifying the historical narrative of the historical period or movement that is characterized by a cover, is. Like the Crusaders.
There is ample capacity for the transfer of clothing Prop Prop views that the viewer to move between shots to give time and space, as well as the motifs “expansile” and motifs “inside story” played an active role in working Myknnd.dygr Prop Beautifully designed to be sensible and effective communication is the use of colors and shapes repeat associative possible.
“In such circumstances, Makeup Artist’s clothing features such as character and plot plan Vpyshbrdknsh less important.”
Action and movement
action version of “action” in the scene.
or to attract the gaze of the viewer.
Stylistic features of a film starring figures can be intertwined in the story Fylmyk Gyrd.asasa exaggerated poses in a realistic film not in the other components as well as other components of a film Gyrd.ps play an important role in creating a narrative film transcoding .
En followed by the end of its components, with the two words from Bvrdvl and Thompson and “Noel Bvrch” adapted conclusions:
“En as a set of techniques helps Shvd.shnharayy view movies made in time and space, lighting, costumes and behavior patterns are the figures with the interaction of color and depth, line shape, light and darkness, movement and create are. These models define the world of stories and story development, and information important to emphasize.
“All the elements of a specific image feature to be evaluated with equal importance.” Noel Bvrch
Rvbrv- mirrors assembly / en
“The mind is not like the idea that the Treasury is expecting to leave valuables in it, is now thought to be the creative mind … Another old idea that the reader knows the consumer has broken down.” Wellin, Peter
Pvdvfkyn theory “Mvntazhastary” and Eisenstein with “assembly Atraksyvnha” as the most important theories in relation to the assembly.
“Eisenstein believed that the smallest unit in the original writings of the film, and that the front facade is like a circus Atraksyvn, certain psychological motives that can be combined with adjacent Angykhtarhay thus Sakht.ama film Ayzynshtayn more later realized the possibility of view and found that every single consistent view of Atraksyvnhay Vnahmsaz formation. “fundamental Tyvryyhay cinema
Eisenstein and other Russian filmmakers on the other side of the Juxtaposing views and original meaning is “to create the concept, light up, and the resulting sense.” With the idea that the juxtaposition of unrelated images and neutral place or concept, to create meaning “metaphorical” For this group of filmmakers joined together to assemble and link them to an ideological effect. This method “assembly psychological” the application and had an important role.
Bazin and influential members of the opposite en-style “imposed” by the images of virtual meaning “assembly sequences” or the way Angykhtarhay were psychological. Bazin believed that his viewers to “discover” the hidden meanings of the concepts in the film through the “View” and “analysis” is related to the effect of the deals.
Bazin ability photographic representation “pictueral” insisted the film mechanical camera to record and realistic picture and spatial realism Mydanst.av attached great importance to deep-focus cinematography.
“Bazin this assembly to the depth of field technique [depht of filed] leaves the scene’s progress over the long term and at multiple spatial record. If you close the camera lens to record extremely clear, then the director will have the freedom to create en interdependencies within a dramatic nine consecutive shots through the link. “Tyvryyhaasasy movie
the realistic nature of some of these events and third calls, although this technique is contrary to our normal mental process of events.
Amadr against Eisenstein, “depth of field” and “picked up” and saw no artistic value and aesthetic:
«Back profound indication of the lack of artistic vision, loss of language, concise and unambiguous in meaning.”
But Bazin believed that:
“Nature has several meanings and can be said that man is Abhamamyzy conversation. Techniques long view, Qabbndy and shooting at a depth of not only the unity of space and events, but also retain the concepts inherent ambiguity rich. ”
Although the obsession en Ayzynshtayn in films and composition close to work, but the cinema in link schemes and leads the viewer knew the implications of the explicit and at the lowest ambiguity in conveying the and the he knew concluded that perspective Impact invested filmmakers the dominant perspective into account.
It is believed that the movie ends with “socialist realism” would be the cause of the “target population”, ie class “Prlvtarya” is immediately able to comprehend the desired resultant films, and this was caused by filmmakers such as Eisenstein’s montage psychological way influenced by the theories of Pavlov and the other Tmyhdat Tdaygrayan Vrnd.ama to follow the style en-assembly, assembly facilities hesitate to relent defects and limitations, which will hurt the perception of free movie, “freedom of choice and viewers incorporates his personal interpretation of events “that has this feature en and picked up in style no assembly and therefore” personal point of view as to what the viewer sees “can not pick and passive stance towards the film finds.
“We have developed a mutual release agreement and objects in front of them. Editor contract instead of a release order, the scan logic view that mandatory reporting process determines the stage completely undermines our freedom. “Orson Welles
Vrd.nan task facing the filmmakers to record and display only knows, and “explore” the hidden meanings within the authority Vshnh event viewer Mydanstnd.ps it can be said that deep and picked up en:
“Viewer’s perception of the actual circumstances in which nothing is a priority place.” André Bazin
