فصل الميزانسين ، التكوين ١-a .. كتاب فهم السينما

configuration

Although the filmed material in cinema falls within three dimensions, one of the first dilemmas facing the film director is the same as that facing the painter, as he has to arrange shapes, colors and textures on a surface.
Parallelogram plane This arrangement is generally done within a kind of balance or equation of harmonic harmony (2) (7) The tendency to balance is similar to the balance of man on his feet, as it is, in fact, all the man-made structures that have been balanced on the surface of the earth. We instinctively assume that balance is the measure of most human experiences.

However, cinema has important exceptions to this rule. When the visual artist wants to emphasize the lack of balance or equation, he intentionally breaks many of the standard conventions in composition. Content or dramatic context in cinema is usually the determining factor in composition. What we superficially consider to be a poor formation may actually be very influential, depending on the psychological context. Many films deal with neurotic characters or disjointed events. In such cases, the film director improves by forgetting the familiar in a harmonious composition (2) - (8). For example, in a complete shot of an isolated character, the body is usually placed in the middle, but the picture is well-framed. But the characters are not all of course well-coordinated, and once the body is placed at the edge of the frame, the director can upset the balance of the composition, and as a result presents us with a more appropriate picture of the dramatic context from a psychological point of view (2-4 c / d). There are no set rules for things of this kind. John Ford favors the use of symmetrical and balanced compositions, while Jean-Luc Coudard and Antonioni often use asymmetrical configurations that exploit a kind of negative space and wide left spaces. There are many styles in cinema that present us with the same thoughts and feelings. Some filmmakers prefer visual styles, others prefer dialogue, and there are still others who prefer acting or cutting. In conclusion, whenever it bears fruit, it is true.

The human eye tries to compose automatically the main plastic elements of the composition into a unified whole and it seems that the eye can detect or see about seven or eight separate elements of the composition at one time. And in more than Conditions The eye does not wander on the surface of the image as it were, but it is led to certain areas sequentially, and the director achieves this by using an overwhelming contrast and a number of secondary data. This space appears as if it is somehow separated from the rest of the elements inside the image (2) - (9) In black and white films, the overwhelming contrast is achieved through the proximity of the lights to the shadows. When the director, for example, wants the spectator to see the actor's hand first and not his face, the light on the hand is stronger than on the face, which is illuminated in a less luminous manner. In color films, dominance is achieved by the prominence of one color over the rest. all items
Fine art can be used as an overriding contrast, such as shape, line, texture, etc that .

After the viewer comprehends the dominant contrast, his eye scans the secondary contrasts that the artist arranged in order to play the role of means of balancing the tyrant. Our eyes rarely stop with visual formations, even drawings or photographs. We look somewhere first and then we look at spaces of lesser importance. Not all of this is done spontaneously, as plastic artists formulate Purposefully photograph them so that a certain chronology is followed. Motion in cinema is not limited to things and people actually moving.

The visual importance of overwhelming contrast is often associated with the dramatic importance of the image. But since the cinematic film has a temporal context in addition to the dramatic content, the dominant contrast may sometimes be the movement itself, or what some aestheticians call implicit importance, which simply means that the audience realizes through the context of the story that something is more important in dramatic terms than it is. It may look simulated. Therefore, despite the fact that the game that may occupy a small part of the surface of the image, it will dominate in the image itself despite its need for formal confirmation if we know that this game has a dramatic importance, since in a context the dramatic meanings may take the lead over the formal meanings. In The Mortgage Owner, for example, Sidney Lemé wanted to show us the relative indifference of the city's population to a recent murder. He showed us the body of a boy lying bleeding on the pavement as people pass by or stare blankly. In a number of shots the spectator does not see the boy's body, but because of the implied importance, the dominant contrast in these images is the boy's body (2-10).

A third-rate director can lead the viewer's eye through the use of movement. Movement is almost always an overwhelming, mechanical contrast. This is why most unimaginative directors resort to movement and neglect the rich potential of their images. They rely only on movement as a means of controlling the viewer's interest. As for the great director, he diversifies his dominant contrasts, as he sometimes emphasizes movement and at other times makes movement a secondary contrast. The importance of movement varies in general according to the type of shot used. Movement tends to be less distracting in long shots and very prominent in close ranges.

Unless the viewer has enough time to examine the surface of the image slowly, the result is a visual distortion caused by the presence of more than eight or nine elements.