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留学生作业代写:The film style of Abbas

2018-01-06 来源: 51due教员组 类别: Essay范文

下面为大家整理一篇优秀的essay代写范文- The film style of Abbas,供大家参考学习,这篇论文讨论了阿巴斯的电影风格。阿巴斯基亚罗斯塔米作为当代伊朗最重要的导演之一,其电影独特的写实风格越来越受到世界影坛的瞩目。阿巴斯偏爱用长镜头拍摄全景画面,在他的电影里,根本找不到频繁切换的蒙太奇。在阿巴斯看来,那种快节奏根本不适合展现他眼中的伊朗以及伊朗人民的生活。场面一段落镜头、同期声以及对非剪辑的钟爱,构成了阿巴斯电影独特的镜像话语风格。


Abbas Chiarostami, one of the most important directors of contemporary Iran, its unique realism style attracts more and more attention from the world cinema, and its realistic style mainly shows in the following: In the mirror language, a large number of long shot, the same sound; in the narrative structure, tends to the story of the narrative not causal, the story of the plot of life, The end of the story is open, the use of amateur actors, the actor to show their lives, the formation of the original ecological, objective reappearance of the performance style. Mr Abbas's directing art directly influenced his film form and formed a realism style of film.

Mr Abbas's work embodies the unique artistic style of Mr Abbas's film: The use of documentary films to capture the original state of life, the use of open plots and endings, the uncertainty of plot development, and the large number of amateur actors. This article takes Abbas's several main representative works as the cut-in point, from the mirror discourse, the narrative structure, the performance style three aspects elaborated Abbas movie realistic style.

Aspartame prefers a long shot to take a panoramic picture, and in his films, there is no montage of frequent switching. In Mr Abbas's eyes, the fast-moving pace is simply not a good way to show the lives of Iran and its people. Scene One paragraph lens, the same time sound as well as to the non clip's affection, constituted the Abbas movie unique mirror language style. In his films, long lenses are often visible, in an outsider, spectator way to record the day-to-day, poetic, scattered plot of life, give the audience a real power.

In the film "Where Is my friend's house", Ahamad to find his friend in the Baltic to return the exercise book, two times over "the" zigzag hillside, is the fixed long shot, the little boy's run played the role of scene scheduling, interpretation of the lens inside montage theory, let us see the little boy's goodness and perseverance. In the film "Under the Olive Tree" there are also such a long shot of the praised: Hussein in pursuit of Tahri, Tahri along the hillside down the hill, cover the depths of the field, at this time, the back of the camera stood on the mountain Hussein seems to wake up, but also with the end of the mountain, turned into the field, the lens of the depths of the two dots sometimes coincide together, Sometimes separate, then a dot returns along the original path. The details of this life are everywhere, but by Abbas with such a long shot to deal with, but do not have a charm, like Chinese painting, the small characters placed in the vast nature, the characters and scenery into one, complement each other, and poetic in that far like and does not seem to spread. In the film "Gone with the Wind," the end of that long shot, the doctor riding a motorcycle: carrying a bar, in the Huang Mountain road slowly bumpy, south far and near, near. On both sides of the road with the golden luster of the ripe wheat with the wind tumbling, Abbas's lens is so aloof and ambiguous to follow two people, two people like in the wheat field sailing, sometimes disappear sometimes appear, the entire lens leisurely calmly, beautiful like a poem. And the protagonist's feelings after a long shot of filtering, it seems to cover the great joy of life, the rest is only quiet and indifferent.

Any lens is a language, is to serve the meaning of expression, long lens as the choice of the film language of the movie is not exceptional. The meaning of long shot, often depends on the audience's own thinking, instead of the director through the lens of the group together, when a lens long to break away from the normal length of time range, it began its own ideographic process, so that the long shot beyond the narrative function, and thus transformed into the meaning of the transmission.

Modern film and television performance theory that the performance of the camera is pressure on the actor, anyone who is close to the machine with eyes, will involuntarily lose that part of the natural and leisurely life. Therefore, in order to capture the truth, Abbas chose to sit far away in silence. Abbas himself has said that in order for viewers to enter into the narrative of the film and make their own judgments, some close-up shots should be given away to make the scene a better one, allowing the viewer to see the whole body directly: The close-up removes all the other elements of the reality and must have all these elements present, The narration uses the medium view other lens to minimize the director's subjectivity, can let the audience own choice to move their thing and in a paragraph lens, the audience also can choose the close-up processing with its own visual emotion. ... The film "Where Is my friend's house", Ahamad in two villages to run together, the lens is never facing his face, but looking at his back away or looking at him from the camera to run, or follow him from the side, this method of filming, so that filming is not a kind of scrutiny, but just a kind of viewing, viewing people's true state, The approximation of reality is achieved in the non approximation of the people's attention.

Depth lens in the performance of the relationship between the character and the environment, showing the authenticity of time and space has its own advantages, Abbas's film can be seen everywhere a long shot of depth of field, the protagonist is often not occupy the foreground of depth of vision, the characters in most of the time is far into the background, as part The lens moves with the protagonist's movement, the people in the depth of deep scene lens is like a huazhou gently unfolds, constitutes the image the other pole, their movement, the movement, the sound also all concrete can feel. This is Abbas's preference, his film has never only focused on the so-called protagonist, all the people appearing in the lens is the object of Abbas, the protagonist is only a narrative clue or a primer, he brings out other people, things, objects. For example, the film "Gone With the Wind" in the protagonist Bazas, until the end of the film we also do not know who he is, what to do work, to the village what the purpose, he is just a symbol, the director used him to replace himself to tell the local customs, the villagers life hundred states.

The use of long lenses is consistent with the realism style of the Arab bath. Abbas once said in an interview that a lot of long shots were supposed to be close-ups, but in order to get the audience's understanding closer to the subject, the idea was finally abandoned. Mr Abbas is doubtless sensible, with a feature that is apt to allow viewers to overlook the source of emotional occurrences while the long lens can continuously express an event, all the things associated with the person into the same lens, the audience at the same time as entered the film in the world, with the body and mind to experience the spiritual process of the characters, Get a more intuitive visual impression.

In Abbas's film, voice processing is important, even though he thinks it is more important than the picture. The picture of the film is the carrier of narration, but it is only a plane, add the elements of sound to truly realize the overall communication of audio-visual language, the large number of voice narration is not only in the narrative means complete, but also the style of the director narrative methods to form elements and the audience to accept the mind imagination space! This is the cognitive basis of Mr Abbas's audio-visual narrative, and with that in mind, he will have a deeper understanding of the details of the film. For example, the movie "Where is my friend's house" opening paragraph, using a fixed long shot to shoot a light green, a bit shabby ajar door, for more than a minute no characters, only the environment sound, including the bell, the students footsteps, argumentative, quarrel, slapstick sound, a variety of sound mixed, very rich space and scene sense, By playing the role of sound modelling, an ordinary Iranian village elementary School was shown to the audience. The reason why this kind of sound painting is used is because it has always been thought that the film is a cube, there are different faces together to form a whole, when dealing with one of the film creation will inevitably involve the same as the other side of the whole, if the picture alone depends on the dimensions of the image is very good to explain the other side, But the use of sound can just have such a function, without affecting the picture itself and the transmission of information and emotions with the screen parallel to form different dimensions, secretly prompts the audience, in a limited time space fragment portfolio projection more stereoscopic meaning, let the audience perceive the existence of other faces.

Abbas made a good representation of the six faces of the cube in the use of sound, in particular the filming of live space stereos. The film "Gone With the Wind" began when the landlord little boy hair to go to critically ill old woman's home that long shot, very good play the sound of "stereo" effect. Mr Abbas did not adopt the usual practice of making the audience understand the exquisite voice of each actor's line, but rather to restore the real life and deal with it in full accordance with the logic of life. In this moving long lens, the camera follows Bazas and hair on the way, the voice of the camera, the villagers and the sound of greeting to say hello, hair and baba talk, hair Aberdeen to the villagers to introduce the voice of the village, Baba to the villagers greetings, children's frolic sound, poultry and animal calls, running sound, these sound intensity is different, The direction of each other intertwined, so that viewers may not understand what they specifically say, but the audience has the feeling of immersive, restore the situation at that time, appears to be true and have texture.

Therefore, in the film Image ontology a mirror of the use of words, whether it is a long shot of the scheduling, or the use of the same period of sound, is a bath to increase the reality of the image, restore the real life of a means. This approach allows the audience to feel the real power on the screen, through seemingly silent attention, sublimation of real life thinking.

When Abbas makes a film, he often encounters something unrelated to the subject of the film being filmed, but he extends it into the film. He said: "It's more interesting than the theme we're filming, so I'm turning the camera on these things." "In his work we can often find such a deal, the film's dimensions and interpretation become more rich and polysemy."

First, the non causal narration of the movie is embodied in the setting of the main characters and events of the film. For example, in the film "The Taste of Cherries," the protagonist in the film, Buddy in the beginning of the car to drive around looking for can bury his body after committing suicide, but after watching the whole film, the audience did not know why Buddy wanted to kill himself, whether it was a matter of affection or a career crisis, committed or not. According to the logic of causal narration, Buddy obviously lacks the motive of suicide, at least among the few people he is looking for, he is the only one who has money, a car, a decent dress, and a healthy body, and it seems to others that it is absurd, illogical and without reason that such a person would choose suicide In addition, the engineer in the film "Gone With the Wind," Barry, to the end of the film we still do not know what his identity is, what to do, what to go to the village for what purpose, and he frequently call people who, what the phone said, what is the purpose.

Second, the non causal narration of the film is also reflected in the film plot, paragraph settings. For example, the film "Where is my friend's home", the lens guide the audience's eyes have been followed Ahamad over the wave dike to find their friends inside to return the exercise book, on the way to meet Grandpa ordered him to go back to take his own tobacco pouch. At this time the lens did not continue to follow Ahamad, but stay in grandpa here, Grandpa and the old man's talk content also and the theme of this film has no relationship, Ahamad find a pouch without fruit back to grandpa here, the lens before again follow Ahamad. From the perspective of causal narration, this paragraph has no effect on the development of the plot, and is dispensable. In addition, the film "Under the Olive Tree" in two of the old man to the problem of the philosophical analysis of the pieces, the film "close-up" of a person in the street kicking empty cans of fragments, nor "development of the plot." "Non-development episodes" Like this are certainly not an unconscious disorder of the film's narrative, but intentional. The concept of this creation extends even to his idea of the film scene, and he has tried more than once to add Damin between scenes and scenes, allowing viewers to visually feel as if the scene had not changed. Abbas himself called it the "nothing happened" scenario. This "nothing happened" constitutes an important factor in the narrative style of Abbas, emphasizing nature, avoiding drama, avoiding the conflict of stimulating the observer, from this level, it is not difficult to understand the non causal relationship of the narrative.

This kind of non causal narration in Abbas's film reflects his realistic style from one side, because life itself is full of accidents, variables and uncertainties, and events in life are not the interlocking and one by one correspondence of causality. Abbas from the logic and rhythm of Life, set the story of the events and plot, the life is strong, real feeling, make the audience feel authentic.

The appearance of Abbas's films is life-style, and this kind of life is first embodied in the narrative rhythm. Abbas is good at using "scene one paragraph" long shot, according to the original rhythm of Life, the story and events, and rarely use clips to compress the time and space of the story and events, but use the attention of long shot, so that screen stories, events and life stories, events to achieve rhythm and time unity. The film "Where Is my friend home" in a Hammad run back and forth between two villages in the "" "Zigzag road, instead of using a heel shot, it uses a fixed long lens to focus on a child running on the hillside, getting smaller until it becomes a point, disappearing into the field of vision. Such a method of shooting, without the scene with the shot, no clip rhythm, and some just the original form of life.


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