Real-style paper under the long lens theory
The long lens is the natural expression of reality on the screen through continuous time and space movements, creating a unique incipient style, which in this paper describes the function of the long lens theory and the aesthetic features behind it by analysing the typical long lenses of the film one, as well as the intrinsic relationship between its unique narrative style and the expression of the film's main theme。
[keywords] one; long lens theory; long lens function and aesthetic characteristics
The taiwan director, yang dechan, received the best director award at the ghana film festival. This is a long story story, which tells a typical taiwan middle-class family life mainly through five narrative lines. The story focuses on the troubles of the middle ages, the owner of jan nam. The crisis of career, the conflict of values among friends who have been with each other for many years, the sudden re-emergence of japanese computer game engineers and first-time girlfriends, and the crisis of emotions and marriage, as well as the life crisis of the mother-in-law, the doubt of the wife’s existence, the adolescent crisis of her daughter ting ting, and the confusion of her son’s growth, all together constitute a crisis of the next ordinary family in metropolis。
This film is a routine narrative film that is different from the mainstream, a stationary space in which a single scene is integrated into the panorama without the need to be cut, never to pull, mostly through the scenery of the panorama, while the main person's drawings are more objective and realistic than the montage of the montage scenes. This narrative is typical of a long lens theory. Its writing style is clearly influenced by the new italian reality film and the french new wave film of the 1950s, and follows a real, natural, pure and re-emerging approach. The film presents an aesthetic style dominated by deep-focused photography and long-scenario motion, which mostly uses a loose cultural ethos structure and open endings that are closer to the face of everyday life and pursue a record-based sense of truth. One
I. Long lens theory
The so-called “long lens theory” is a term used in american film theory by french film critic andre bazan. In order to achieve its aesthetic ideal, bazan has found an advocate among the different ways in which the reality is re-emerged. On the basis of his classic work in film history, he proposed that the film be conceived in accordance with the principles of long and deep lenses. Its theory has been criticized by certain film theorists since the 1960s because of its aesthetic absolute nature. Two
Bazan has spent his whole life working on film reviews, and four dissertations, " what is a film " , have focused on his basic idea -- that the film is linked to reality, and that is summed up as a long lens theory, an aesthetic view opposed to traditional montages. Brazin believes that the film has the advantage of reflecting reality that no art has. Films should therefore be the most realistic expression of images that show people the real picture that is easily ignored. He said, "the aesthetic character of photography is that he can explain the truth. In the context of the outside world, a reflection of the wet sidewalk or a child's gesture is identified. The camera is free from old prejudices and removes the emotional rust from our senses, and only with this cold-eyed camera can the world return to its pureness and attract my attention, thereby provoking my affection.”
The long lens is a process or even a paragraph of an event that is continuously displayed in a lens that naturally presents the real reality on the screen through continuous space and time motion, creating a unique style of discipline. In the long shot, the motion of the camera produces a multi-angle, multi-spaced effect, creating a sense of the trueness of the picture space and a sense of the wholeness of the air. It was originally film-making techniques, dating from the 1920s. At the beginning of the film invention, when the cutting technique was not yet a specialized production tool, the film was mostly filmed with long lenses. The essence of the long lens is the ingenuity generated by the internal layout of the scene and the realism of the beginning of the rhythm of the whole film. Of course, in relative terms, the layout of the scenes in the depths of the conversation will make the lens longer and slower. That's what we used to call a long shot. Four
Ii. Long lens analysis in the film
Nearly three hours of " one one " describes a long and delicate life, without a big ups and downs, to talk about what we repeat, as we are going through. Four paragraphs from a long shot were selected for analysis from the entire film。
Paragraph 1, the elderly mother-in-law was in a coma, and the family spoke to her in turn at the doctor's request, helping to restore her treatment, and zhang asked yang to speak to her in order to bring about a long-term debate and a closer look. There were nine shots, 5 minutes and 35 seconds. This paragraph shows the landmark film language - fixed slots, fixed frames, long lenses, but with near view and sound space。
The director tried to speak to the mother-in-law through the individual family, to go into the individual, to present the confusion and state of the family with a small view, and to put it in the context of this metropolitan area, to make the various figures humble and helpless. The mother-in-law in a coma is at the other end of her life, and the shadow of death therefore remains in one part of the family. Each person's murmur in front of her mother-in-law gives them an opportunity to be aware of their situation. First of all, my mother, min min-min, was crying and talking to her mother-in-law in her bed, because of the stress of life and the fear of the loss of life, while the ocean, which was growing up as a child, said, “no one can see her.” the bedless mother-in-law became a priest, giving you the opportunity to repent and pray. The man in the camera, like an uncle in yanyang, was helpless in the face of such an opportunity and thought that he would have a lot to say to his mother, but he had no more to talk about than he kept saying he had money. This is the strongest irony of a society that turns people into money-seeking animals. The camera is a slow record, it's like an invisible person, looking at the pain and suffering of these ordinary people。
Paragraph 2, the company’s transition conflicted with the boss’s values, and nanjo’s search for innovation advocated the japanese computer engineer’s game, while conservative but sharp boss and friend had always opposed it. The paragraph has a total of 1 minute and 40 seconds, 10 lenses, with a greater number of montages inside the lens。
The camera began with a presentation by daejeon of the new computer product opened by his company, whose rigorous and forward-looking style and vision gained the approval of a few people in the floor. The next picture is a close close profile of what a meeting is about for everyone, an unsuspecting boss, drinking coke's secretary and so on, just as anyone who talks about what a real life can be about, really trying to realize their dreams, will get what they want
The director tried to bake the subject of the film by matching the physical space with the psychological space of the person, showing the division of the person, the diaphragm and the crowding of the person in space. People who are in the narrow corridors and aisles, look at the activities of people in the room from narrow doors, etc. Audiences must see through layers of barriers, and the invisibility has led to greater distance from the characters in the film, and the isolation of individuals and the rejection of others in modern civilization has been highlighted。
Paragraph 3, jan nam-joon took the opportunity to travel to japan to meet her first lover, while her daughter and her first love at different places at the same time were in the streets. This is the most romantic of them, nine shots, four minutes and 45 seconds。
The director described the parallel footage of the group in parallel with the events that occurred on different occasions during the same period of time, a stereotypic structure that brought the plot together. One is to relive old habits, one is the first love, the same move, the same conversation, the same time, the parallel montague clips across time and space, and the hidden retracing of the retrends in it is full. But the sweetness shown in this paragraph is temporary, and finally it is possible to know that nam-jun left the runaway old lover and returned to his current family, knowing that “there is no difference and no need to live again”; and that fat man left ting-ting and gave his beloved lily a tragic love. So these harmonious intimacy in the long shot only makes love more sad and helpless。
The nine lenses in this paragraph, which are perfect for the director’s narration style, over a long period of time returning to the real life, and the beginnings of some of the preceding narrative clues (such as the reunion of namjoon and ari at his wedding), will change nanjoon’s trust in another possibility of life, as well as the innocent perception of ting ting of the good. Paragraph 4 and the death of the mother-in-law coincided with min-min's return from the mountains. The self-reflection of the couple in the face of these things, as well as the thought of life, is understood。
The director uses a medium view, fixed position, long lens, and describes it with a long lens of 3 minutes and 34 seconds. The paragraph uses a static view, primarily a dialogue between husband and wife, which has a strong meaning for white, raising the natural style of life to some form of philosophical meaning。
He had a chance to choose another life, and finally found out that the responsibility that reality gave him wasn't the same as when he was young. Some things were revealed to min-min from the mountains, where she was recited the same thing every day, just as she did to her mother, but the protagonists were different. So life is the same everywhere, and it's better to enjoy it. The process of these things, cooking, taking care of children, working, etc., is a simple and complex element of life。
In the face of the death of her mother-in-law, it seemed that everyone had become more open and much had been released. The future of any cause and love, though one-sided, is not as difficult as having a home。
Iii. Functions and aesthetic features of long lenses
The film is written in a way that is objective, living and not made. The difference is that the real world that he has returned to is always chilling, and he often chooses more extreme, cold and sharp lenses to express life and spiritual truth. In his film, he uses proxies, visions and big visions to express a real, chilling effect in lenses, long lenses and deep-focused photography. This extremely cold and authentic lense speaks to the survival of ordinary people in urban civilization. So the long lens function i understand is two things:
The first is a long lens that does not undermine the occurrence of events, the coherence of developing space and time, and a strong sense of time and space truth. The viewers can be free to judge the aesthetics in the face of long lenses, to exercise their own initiative to think and evaluate something in the film and to truly recreate the “space of life”. Five long shots are continuous. It abandons the aberration of the drama, which strictly follows the logic of causality, and fully reproduces the natural processes of reality, with a sense of truth, and reflects the narrative principles of modern films. It is consistent, from the beginning to the end, to avoid the disruptions associated with cuttings, and it contains a wealth of details, which in turn preserves the spatial authenticity of the contents of the film, thus enabling the film to perform and to express the reality of life. Andrey bazan said, "the integrity of the film lies in its true art." in his view, it is precisely because “the characteristics of the film, in their pure state, are strictly observing the unity of space in photography, and the method of preserving the unity of space throughout is to use long lenses”. As in paragraph 3, nam-joon, who disagrees with his boss's views after the meeting, saw oda with each other through a glass window, and at the end of the day had a feeling of resonance with the japanese, who shared their own values. The passage from the event to the dove was a full account。
The second is a long shot to express the mental level of film figures and the process of change that is long enough to give a better picture of the mood and atmosphere in the film. In " one one " , the director's long lenses, all of which are written to show the real sense of life, without the beauty and the illusion of blinding the audience, express a sense of reality, as well as a sense of a heavy, sad and uninvited feeling, which is the meaning of the preceding paragraphs. The first shot in the first paragraph was through a narrow doorway to the mother-in-law in the sick bed, accompanied by a dark bedroom with the curtains closed, and when a relative told her about her condition, everyone seemed desperate, faced with the fear of death, unwittingly asking questions about the meaning of life from the light of darkness, the narrow doorways, etc。
The person in the camera is static, except for talking to my mother-in-law, which undoubtedly describes the director's understanding and thinking of people becoming lost. The director, with these objective, calm and depressing lenses, tore us up on the state of life of the urban population. It's about tearing our lives apart and being magnified on the screen and re-emerging for ourselves in the face of cruel reality. He looked calmly at the collapse of people in the city, real, sober, stressful and conscious, and let us look back at our lives behind that cold and conscious lens。
Concluding remarks:
The reality-style film under the long lens theory sheds profound light on the state of social existence and the contradictions at all levels, magnifying them in calm and objective lenses, showing them to the audience, raising awareness of the return of humanity, stimulating their self-consciousness to change reality, and giving the audience the confidence to regain life。
