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8BRIEFLY ON THE LENS LANGUAGE AESTHETICS EMBODIED IN LITERARY AND ARTISTIC FILMS Pang Mengning (Ш^^)
Summary: In this paper, by watching a number of different literary and artistic films, and analyzing these films from the perspective of lens language combined with references and "audiovisual language", film and television art appreciation, aesthetics introduction, etc. The lens aesthetics.
Key words: Audiovisual Language, Spring River Plumbing, Balloon, Second Edition
Аннотация: В этой статье мы просматриваем ряд различных литературных и художественных фильмов и анализируем эти фильмы с точки зрения языка линз в сочетании со ссылками и «аудиовизуальным языком», оценкой кино- и телеискусства, введением эстетики и т. Д. .
Ключевые слова: аудиовизуальный язык, водопровод на весенней реке, воздушный шар, второе издание.
INTRODUCTION
This article mainly studies the lens language of literary films such as "Under the Sun", "Spring River Plumbing", "Balloon", and "The Train to Spring" to reflect the lens language aesthetics of the literary films. Of course, before studying the lens language and literature of literary films, we should first understand what a lens is? What is lens language? How does the lens language in the literary film reflect the sense of beauty? What is the aesthetic acceptance of lens language in literary films? In order to study the aesthetic expression of the lens language of the film, after fully studying the "Audiovisual Language", "Appreciation of Film and Television Art" and "Introduction to Aesthetics" and other courses, I have a partial understanding of the lens language of the literary film, and found that the literary film The aesthetics of lens language. 1. The lens of the movie
Sun Shengwei of Heilongjiang University mentioned in the article "The Aesthetic Study of Film Lens Language": "The lens of a movie is a carrier that takes vision as the main body and fully invokes people's audiovisual experience. Movies can be regarded as complete with numerous scenes. The most basic unit that constitutes this image is the lens of the film." [1] The book Audiovisual Language (Second Edition) written by Lu Shaoyang, Dean of the School of Journalism and Communication of Peking University, mentioned: "Lens refers to the camera. The entire image taken during the continuous period from power on to power off is the smallest unit of film narrative."[2]
First of all, the lens is a tool that constitutes a movie; secondly, the unedited lens can be used as the material of a movie, and the edited lens can be used as the picture of the movie to lay the foundation for the subsequent use of lens language to connect the lens group. For example, long shots, fixed shots, sports shots (push, pull, pan, shift, follow), time-lapse shots, special effects shots, etc. are used to group shots through the storyline they will tell.
2. Narrative and documentary of lens language
The book "Audiovisual Language (Second Edition)" mentioned: "Film has its own grammar like any language, and the law of lens language includes three main components: scene, angle and camera movement." [3] The rules of lens language and frequently used expression techniques constitute the content of lens language. 1. The law of lens language
1.1 Scenery and composition
REFERENCES AND METHODS
Logical, historical, coherent and objective methods of scientific knowledge were widely used in the analysis of this article. A brief analysis of the aesthetics of the lens language embodied in literary and feature films was made. The period of formation of aesthetics was analyzed from the point of view of history.
DISCUSSION AND RESULTS
Scenery refers to the size of the content being photographed in the screen, usually including long-range, panoramic, medium-range, close-up and close-up. The distant view usually shows the spatial environment of the content being shot, mainly used to emphasize the positional relationship between the environment and the subject; the panoramic view is a common scene used to shoot the full picture of the person or the scene, reflecting the integrity of the person or the scene; It is a scene where the part above the knee of a person or other local environment is photographed. It is mainly used to reflect the expression of the person, and also tells the environment of the person by the way; the close-up refers to the picture above the chest of the person when shooting, highlighting The expressions of the characters are convenient for figuring out the inner world of the characters; close-ups are to separate the characters from the environment. It can be a close-up of facial expressions or close-ups of other parts of the body, which plays a prominent role.
When composing the picture, you should pay attention to the distinction between scenes. Don't leave half and half. For example, when shooting close-up shots of women, don't get stuck in the chest position stiffly, but pay attention to the smoothness of the chest line.
1.2 Angle and composition
The camera angle determines the viewing angle of the audience, which is mainly determined by the direction and height. There are three basic shooting angles.
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They are head up, looking up and looking down. Head-up view is the shooting of the subject and the camera on the same level, which is more cordial; looking up is a shooting when the subject is higher than the camera, which can highlight a tall image when shooting; the top view is that the subject is lower than the camera A kind of shooting can reflect the weak and helplessness of the characters, and can also play a summary role. 1.3 Camera movement
Commonly used camera movements include pushing, pulling, shaking, moving, shaking, and following. In this section, we talk about the first four commonly used exercise methods. Pushing the camera mainly has the role of introduction and highlighting, and it can also be an opportunity to enter hallucinations, imagination, and memories. Pulling the lens is to draw conclusions and increase the amount of information. Borrowing the sense of distance, it can also express the feeling of alienation between characters, as well as the loneliness and emptiness of the characters. Panning can depict horizontal spatial display and show unique aesthetic pursuits. Shifting the camera is usually done in a first-person perspective, giving people an immersive feeling. 2. The expression of lens language
The narrative and documentary of the lens language usually need to use general editing, montage and long shots to express. The famous American screenwriter Syd Field said in the book "The Basics of Film Script Writing": "The art of film is actually a visual medium. A good film is a story told by pictures."[4]
2.1 General editing
General editing is a simple shot grouping, but not simply cutting the head to the end, but to obey the content (script and material), obey the general style of the film (theme and style), obey the general editing rules (action matching principle) , Viewpoint principle and 180° axis principle).
2.2 Montage
Bella Balaz believes that montage refers to "connecting shots in a certain order, which is not only the connection of the scenes (no matter the length of the scene), but also the most detailed pictures, so that the whole scene seems to be composed of one A large number of various pictures are arranged in chronological order." [5] Therefore, the use of montage is the most common method of enhancing effects in films. There are the following types of narrative montages commonly used in daily life, including parallel montage, cross montage, accumulation montage, repeat montage, etc.
2.3 Long lens
The book "Audiovisual Language (Second Edition)" mentions: "Long shots use one lens to shoot a complete paragraph. It is different from a montage sentence
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composed of several short shots. It is a paragraph shot. There is no clear and unified regulation." [6] This shows that the long lens does not appear by combining multiple lenses, but the length of the lens from when the camera is opened to when it is closed. 3. Give an example and briefly describe the aesthetic embodiment of lens language in realistic movies
1. The aesthetic embodiment of lens language in "Spring River Plumbing" (2019) Gu Xiaogang's movie "Dwelling in the Fuchun Mountains" (2019) (Dwelling in the Fuchun Mountains), the English name of the movie is the official translation of "Fuchun Mountain Residence", and the director used the summer chapter
A 12-minute traverse motion long shot that took three years to shoot. The language of the traverse lens depicts the location of the Fuchun River in space; the shooting technique of the long shot makes the entire film look like a roll of "Fuchun Mountain Residence" "Slowly unfolding, the author's intention is to combine the lens language with the aesthetic meaning of the landscape painting. France's "Father of the New Wave of Cinema" André Bazin wrote in his book "What is a movie?" "If a movie has no authenticity in space, then the moving images in the movie cannot be called a movie." [7] This is the "true aesthetics" advocated by Bazin, and it is also a documentary embodiment of the lens language of literary films. The whole film is divided into four chapters: spring, summer, autumn and winter according to the seasons. The scatter chapters are used in the style of "characters share time and space" narrative and lens scheme in landscape painting, which can not only guarantee the narrative density but also complete the lyrical aesthetics. Parallel montage narrative techniques are used in the narrative. For example, in the winter chapter, a scene in the winter forest, starts with Kang Kang sleeping, and uses the lens language of pushing the lens to make everything seem like a dream, reflecting the lens A form of aesthetic beauty. There is a big snow-capped mountain in the dream. Two small figures of him and his father are walking up, and the camera slowly pans up with them. Through the language of panning the camera, it makes people escape from this dream. Harmoniously develops into simultaneous events. Then unfolding the world, the second child and his wife are fishing on the vast river, the picture immediately enters the mountain, and at the same time, Gu Xi and
Teacher Jiang are worshiping under the tree. The use of parallel montage from three different events makes the plot seem to develop in chronological order and reflect the beauty of the content of the lens language. As the previous "Chunjiang Plumbing" crew said when they won the best feature film award at the First Youth Film Festival: "The film embodies the family story in the time and space integration of the Chinese urban landscape and the aesthetics of the ink painting scroll, which can be seen in the family story. With regard to the Chinese face of hometown, society, and the circulation of the seasons, a modern exploration of traditional aesthetics is made."
2. The aesthetic embodiment of lens language in "The Train to Spring" (2019)
In Li Ji's movie "The Train to Spring" (2019) (ARoadToSpring)[9], a lot of long shots are used to reflect the real aesthetics. This film directly abandoned the use of music and sound effects in terms of sound, and only used audio. For example, a large number of simultaneous and natural sounds were used, while the Northeast dialect further deepened the sense of reality and experience of the story. In the film, the actor Li Chuan uses a lot of long shots when he pretends to be a disabled man in his rickshaw in order to find a thief who sells the tools in his factory. It really shows how those disabled people who were forced to be laid off had to work out for their livelihood. After a long period of searching, Li Chuan and Datong found the thief and found that it was just a word game played by the factory manager, using a lot of long shots. It shows the cruelty of the layoffs caused by the decline of the old Northeast industry at the time. At the end of the film, the protagonist sits on a long shot of the train slowly bound for Guangdong and takes an open view. end. Li Chuan doesn't know what the future will be, Datong doesn't know, we don't know, maybe spring will come. From the perspective of aesthetics, the film directed by Li Ji shows neo-realism.
3. The aesthetic embodiment of lens language in "Under the Sun" (2019)
In Liang Ming's movie "Under the Sun" (2019) (WisdomTooth)[11], the entire film director took 9 years to complete the filming, using a large number of long shots and narrative montages for performance. The narrative montage adopts parallel montage, and two lines appear in parallel. One is that the heroine is looking for a job and working in a big hotel; the other is that her brother has to fish during the closed fishing season because she has no job to find a job after being laid off. The boss of the place where the female protagonist works is the boss in charge of fishing in this area, and then there is a crime that killed someone, and the female protagonist reported it, but she did not expect that the beating was her brother. The phrase "under the sun" comes from the "Bible": "under the sun, there is nothing new." In the whole film, the heroine listens to the "Bible" constantly, hoping to be saved. As well as filming the female protagonist being baptized in the church, a lot of long shots were used to show that most people have no livelihood after being laid off,
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and most people give hope to the savior to hope that the savior can change this situation. Including fishing during the closed fishing season, a lot of long lenses are also used. Under the premise of being laid off, there is no way to live in winter. In order to live, many people have to risk crime and secretly fish during the closed fishing season.
The whole film uses warm colors to express these crimes, like a balance, constantly swaying between crime and humanity, making the whole film innocent and cruel. Film theorist André Bazin said in his evaluation of neo-realist films: "It is a series of no primary and secondary importance of every specific moment in life: ontological equality fundamentally breaks the category of drama. "[12] Although montage is used in the film, more of the long shots are in this film, and in the film is a realistic film. 4. The aesthetic embodiment of lens language in "Balloon" (2019) In the film "Balloon" (2019) (Balloon)[10] directed by the Tibetan director Wanma Caidan, the director changed the style of filming in the past and adopted the method of shooting with a long hand-held camera. This is the classic of this film. One of the styles. The director used these long shots to make the audience and the plot more fusion, to feel the ups and downs in the life of the people in the play. For example, there is a scene in the film where the nun was thrown into the fire by Zhuo Ga when she received the book "Balloon" from her ex-boyfriend. The director did not use a fixed lens as normal, but used a long moving lens to express The nun's cherishment of the book "Balloon" may be the compassion of a monk. The use of this lens makes Zhuo Ga's female image more three-dimensional.
Another shot in the film is that when the heroine Zhuo Ga knew that she was pregnant after the examination, she used a fixed lens to separate the doctor and the heroine through a symmetrical composition. This is to make the heroine do a difficult task. The choice is whether to listen to the doctor destroy the child, or listen to the words of the master, I believe this is the reincarnation of grandpa. It is very difficult for the heroine to make a choice here. At this time, the symmetrical composition of the fixed long lens more truly shows the heroine Zhuo Ga's choice whether to have a baby or accept a fine for family planning. The director at the end did not give an exact answer. This open end gives us infinite thinking. We can choose our beliefs, our reality, our ideals, and our ideals.
CONCLUSION
By analyzing the lens language performance of these literary and artistic films such as "Spring River Plumbing", "Train to Spring", "Under the Sun", and "Balloon", we will find that they all use long lenses without any surprise. When taking a long shot, the whole plot is more real, and it is more convenient for them to reflect the social phenomenon in a small way, and show the beauty and ugliness in the society to show the swing of human nature in the society. As Bazin's real aesthetics expresses,
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long shots are usually linked to real aesthetics. Therefore, it can be concluded that the real aesthetics in realist movies is expressed through long shots.
REFERENCES
[1] Sun Shengwei, "Aesthetic Research on the Language of Movie Lens" [D]. Heilongjiang University. 2018, p. 8.
[2] Lu Shaoyang "Audiovisual Language (Second Edition)" [M]. Peking University Press. 2014, 7, page 6.
[3] Lu Shaoyang "Audiovisual Language (Second Edition)" [M]. Peking University Press. 2014, 7, page 69.
[4] Syd Field, "Basics of Film Script Writing" [M]. China Film Publishing House, 2002, 6. p.158.
[5] Béla Balazs "Film Aesthetics" [M]. China Film Publishing House. 1979 Edition. Page 16
[6] Lu Shaoyang "Audiovisual Language (Second Edition)" [M]. Peking University Press. 2014, 7, page 142.
[7] Andre Bazin, "What is a movie" [M]. Culture and Art Publishing House. 2008, 1. Page 6
[8] Gu Xiaogang "Spring River Plumbing" (2019) (DwellingintheFuchunMountains).
[9] Li Ji "The Train to Spring" (2019) (ARoadToSpring).
