فصل الميزانسين ، الحجوم والأشكال المغلقة والمنفتحة ٢-a .. كتاب فهم السينما

Extroverted forms seem to emphasize simple techniques because in these self-revealed ways the film-maker can emphasize the immediate, familiar, and intrinsic aspects of reality. These images are sometimes depicted in situations over which they are only partially controlled. And such a coincidence in circumstances can give us a sense of spontaneity and directness that are difficult to obtain in a context in which control is stimulated. Closed forms are more likely to emphasize the unfamiliar. The images are rich in their texture contrast and in their effective visual effects, and because the mise-en-scenes are more styled and controlled in terms of accuracy, there is often an intentional artificiality in these images.

Images - a sense of formal improbability and that we are a step away from reality Closed forms are dominated by a heavy saturation with formal information, as long as the economy of means takes priority over considerations of superficial realism. If the conflict escalates in the open forms, then the formal beauty is sacrificed for the sake of truth. In the closed forms, the literal truth is sometimes sacrificed for the sake of beauty.

The composition exploits the open and closed forms of the frame in two different ways. In the portraits of the extroverted figure the frame is predominantly de-emphasized. It suggests temporary blocking and indicates that more important information lies beyond the edges of formation. The space is continuous in these shots, and in order to confirm its continuity outside the frame, directors often prefer the movement of the camera's rotation across the shooting location. The shots in the open form appear to be insufficient, so narrow that they cannot contain within their limits the breadth of the subject material. Beyond the formal edges of composition (2 - 28) the shot in closed form represents a kind of microcosm in which all the necessary information is carefully fitted within the borders of the frame.The space seems more enclosed and contained than continuous.The elements outside the frame are non-objective, at least in respect of The formal characteristics of the single cat that is isolated in a sense from the spatial context (2-29).

Photographs from films that are predominantly open in form appear mostly artistically unimpressive, as they are seldom striking in themselves or appealing to the eye. Most film writers prefer pictures taken from films with a closed format, because even these cut parts appear more clear in their artistic effect. The beauty of an open-framed picture, on the other hand, is generally elusive and can be likened to a picture that we take for an explicit expression that the picture miraculously preserves, is a kind of momentary truth by chance. The extroverted form also desires a certain formal ambiguity. The magic of such images is often precisely in our inability to Penetrating into it is half a mysterious smile on a character's face, for example, or an exciting shadow cast strangely across the built landscape.

In open-form films, the dramatic action is generally led by the camera. In films such as Faces and Husbands, for example, Jean Cassavetes confirms the fluidity of the camera, as it follows the actors obediently, wherever they go, and it seems as if it was placed at their disposal. Such films suggest that the elements of chance play an important role in determining the visual effects. Needless to say, however, that what is important is not what is going on inside the scene, but rather what appears to be happening on the screen That the effects are “simplicity” in the open-form film is achieved after great treatment and painstaking effort. The camera in closed-form films, on the other hand, tends to anticipate the dramatic action of things, and the actors design their movements visually within the dimensions of a predetermined location for the camera. For example, in most of the director Fritzlane's films, we find that the camera is waiting in a room, and the door opens and the character enters and the action begins. . However, the character «decides to return to the spot where the camera was waiting. When such locations are used for a camera in a movie, we tend to anticipate the event. As we instinctively expect that something will fill the imaginary disorder in the snapshot (2-30), philosophically open forms suggest freedom of choice and a multiplicity of opportunities open to the characters. As for the closed forms, their contents are dominated by the inevitability of fate and the futility of the will, as it does not seem to the characters that they have made important choices. The camera did it.

Closed and open shapes are more effective in films in which these techniques are appropriate to the subject matter, so his events did not take place in a prison that is not likely to convince us emotionally by using mostly closed forms, of course, unless the director deals with a kind of spiritual freedom within the context of physical confinement. Most films use both the closed and the open forms, depending on the specific dramatic context. Director Renoir's film The Great Illusion, for example, uses closed shapes in most prison camp scenes, and open shapes after two prisoners escape. Also, directors don't necessarily use the same formats for every movie. In Berkman's early works, such as Wild Cherry and The Seventh Seal, we find the dominance of closed forms. In Berkman's recent works, such as Anna's Shame and Hiam, they are dominated by open forms Open and closed forms, like other cinematic techniques, have certain limitations as well as advantages. When using closed shapes they can look bad Naive and stumbling as my artless home movie, open figures often look uncontrollable and even ugly. A few times, these styles are so dimly lit and uninviting that the visuals are horribly dull and dramatized, and at worst, closed figures can appear strutting and dry. The images are so controlled and devoid of spontaneity that the visual elements seem programmed by a calculator. Many viewers recoil from some closed-form films because of the pomp of the opera. Mostly these films look worn out and runny - lots of paint without the original cake.

In the first two chapters, our attention focused on the most important source of meaning in cinema, which is the visual image. However, films exist, of course, within the framework of time and have multiple other issues of communicating information. For this reason, the filmic image must sometimes be voluntary and less saturated with meaning than an oil painting or a photograph, where we find that a single frame contains all the necessary information. The foundations of diversification and adaptation are found in all temporal arts. In cinema, we find these bases in images that usually seem a bit uninteresting because the overwhelming contrast is found elsewhere. Such intended pictorial regression is necessary in cinema because of the temporal nature of cinema and because of the huge technical possibility of expression. These relegation points, in other words, are resting areas. sham. she

The film director, for example, has hundreds of different ways to convey meaning. Like the painter and the photographer, he can emphasize the dominant visual contrasts. For example, in a scene depicting violence, he can use slanted lines or changing direction, blatant colors, large shots, very low angles, very sharp contrast in lighting, unbalanced compositions, large sizes, and so on. Unlike other visual artists, the film director can suggest Violently through movement, the movement of the subject itself or the movement of the camera. That is, because the film artist can bring about violence through montage. In addition to his ability to use audio tape, violence can be conveyed through fast, strong dialogue, sharp sound effects, and loud music. It is precisely because of this that the film director has many ways to deliver the desired effect, so he will diversify his assertions, sometimes he emphasizes the sound, sometimes the movement, and other times the sound in a few times, especially in the rising scenes, the director will use all of these methods. Even the greatest films, then, have some images of only routine interest, as there are times when an overwhelming non-image contrast is called for when the image does the job of temporary secondary contrast.