Table of Contents
Introduction to Film and Television Art
Film and television art is a complex of time art and space art. It not only displays images in the continuation of time like time art, and constitutes a complete screen image, but also like space art, it expands the image on the screen space and enables the work to obtain multiple methods. , Multi-modal expressiveness. Film and television art includes film, television, and the artistic effects expressed by both. Film is the origin of film and television art, and television is one of the derivatives of film and television art.
In the space-time complex (or space-time continuity) as the scaffold of the movie world, only time is the fundamental and decisive component of the movie story, and space is always a secondary and subsidiary reference range. Under the guidance of this view, for a long time, most feature films have been structured by narrating the development of the storyline. It is a linear way of thinking, considering the space in the context of the development of the storyline.
However, film and television stories are different from ordinary stories. They must be presented in the form of modeling-space. The composition, tones and tones of light and shadow, colors and lines are used to narrate the story and express emotions. Explain the philosophy.
Therefore, to be more precise, film and television art should be a comprehensive art of time and space. Film and television art is the result of the full integration of traditional art resources and modern art technology. It is an organic synthesis of multiple times and arts. In the history of human art, film and television art is the youngest mature and stable art style.
Space creation
The Soviet Union’s Vasfeld said: “The time in a work of film art—whether it is astronomical time or visual or montage time—is always realized in space, in a certain documentary or hypothetical environment. The structure of is a space-time category.”
The space construction of a film and television work should grasp the atmosphere and atmosphere of the environment as a whole, and choose typical visual elements to construct a spatial structure with a sense of integrity.
For example, the exterior environment modeling of the film “Golden Pond”, a villa located on the lakeside, the wind is sunny, the green forest is quiet, the scenery is charming, the lake is drenched with golden sunlight, giving people a harmonious beauty and full of regional characteristics. The choice of this environment reveals how the elderly in modern life should face the problems of the new life, whether to surrender to life, or to fight against life, to cheer up and face the challenges of death.
The environmental modeling of the American film “Birdman” is also of typical significance. “Birdman” was treated in a psychiatric hospital as a struggle against society by reluctant to talk to others. The environment arranges “Birdman” in a ward with iron windows, with a broad blue sky outside the window. The white dove flying freely, and the reality he is in and the world of freedom he yearns for are in sharp contrast from the environmental modeling, which has a symbolic meaning.
The creation of environmental space should give people the possibility of materializing emotions. The space environment can be consistent with people’s emotions and moods, and the emotions of the characters will naturally and appropriately find the emotional external objects, and the inner emotions can be extended in the environment. Come. The film “Taxi Driver” started with a pair of clear and bright eyes of Charles, shining with youth and innocence but not joyful. The protagonist Charles sitting in the carriage and the endless stream of colorful cars, and the colorful lights flashing by the side of the road The night street scenes of New York constitute a group of highly contrasting and dazzling pictures, through the creation of these beautiful and moving picture spaces, the audience is brought into the inner world of the protagonist. A world that is simple, lonely, courageous, persistent, and firm, perfectly expresses the confusion and pursuit of contemporary people’s “combined character”.
Space reproduction
The main feature of film and television photography that distinguishes it from other art is that it is first of all modeling, and it runs through it with artistic modeling (picture) from beginning to end.
So how to create a three-dimensional space on a two-dimensional plane in modeling? In this regard, the pioneers of film and television photography have accumulated a lot of experience and theories, such as: how to use the characteristics of human visual physiological images to strengthen line perspective and tonal perspective, and use oblique lines and obliquely arranged objects to go far Stretching and converging everywhere to show the space, using the backlighting of multi-level scenery to form a rich tonal level to show the space and so on. And through the unique means of film and television-sports photography to change the structure and position of the space, create a real and moving sense of the scene, and broaden the horizon of the space.
For example, in a scene in the movie “Little Soldier Zhang Hu”, Luo Jinbao, who is disguised as a traitor, walks into the courtyard with his son (the shot is in the middle of the shot), they get under the vine (the shot is moved), and then turn around In the Xiaozha, Luo Jinbao removed a bundle of grass blocking the door and got in through a door (the camera opened to a panoramic view), they climbed onto the roof, and then climbed from the ladder to another courtyard (the camera followed Down)… This series of sports shots not only reveals a sense of mystery and legend of the anti-Japanese guerrillas that appeared in the past, but also reproduces a sense of realism in space.
In terms of expanding space, the ancient Chinese painting theory summarized three words. One is “separation”, which means using the foreground and arranging more scene levels. When selecting scenes, it is necessary to use doors, windows, fences, and parts of buildings as much as possible. Foreground, and make the scene have a progressive relationship. Smoke is diffused among the multi-layered sceneries to enhance the perspective of space. The second is “borrowing”, that is, the choice of background. When shooting indoor scenes, there should be doors and windows in the background that let in light or see distant scenery through it. Outdoors, in the background, distant mountains, towers, buildings, etc. are embedded in the background as dots. The third is “leading”, that is, using lines to stretch and guide the depths of the picture. Such as roads, rivers, canals, rows of trees, telephone poles, etc. stretching far away. They are arranged obliquely visually, and visually have the function of simulating the third space. If they stretch to the diagonal of the picture and the vanishing point is within the picture, it will be more effective to form the illusion of a deep three-dimensional space. The real reproduction of the space on the screen provides a credible basis for expressing the activities and psychological states of the characters in the content of the plot.
For example, in the film “Citizen Kane”, many in-depth shots are used to reproduce space. As the film director Wells said: “What you see in life is the panoramic view at the same time, why can’t it be like this in the movie?” In the film, when Susan tried to commit suicide after another failed performance, the space of the picture was shaped It is arranged like this, the foreground is a glass and a bottle of poison, the middle scene is Susan’s face on the pillow, and the back scene is a ray of light coming through the door and under the door. We heard Susan’s breathing and Kane knocking desperately outside the door. The creation of this space gave us a nervous and worried psychological feeling. It can be seen that the creation of the picture space will produce an unusual and peculiar effect.