فصل الحركة ، کنیستيزيا [ التحريكية ] ٢-a.. كتاب فهم السينما

Joseph Mankiewicz makes effective use of these psychological sensibilities in his film Suddenly Last Summer. At the beginning of the film, a group of people wait for Katharine Hepburn to land in an elevator. She suddenly starts addressing visitors even as the elevator goes down. And because the shot was shot from a low angle, the elevator appears to slowly crush visitors. During the course of the film, we discover that our first impression of the lady was correct, as she is trying cruelly to destroy the lives of a number of characters who appeared in this previous scene.

And since the eye is trying to read the image from left to right, the movement Physics in this direction seems natural from a psychological point of view, while the movement from right to left seems mostly tense, inexplicable, and uncomfortable. The sensitive filmmaker exploits psychological phenomena to strengthen his dramatic and modern ideas. The hero of the movie, for example, travels mostly to the right of the screen, while the anti-character heads to the left. In John Huston's movie The Red Badge of Courage, the hero heads from right to left when he flees for fear of battle. Later, when he joins a cavalry regiment, his movement becomes from left to right (3-6).

Movement can be directed towards or away from the camera, as long as we associate ourselves with the camera lens. The effect of such movement is somewhat similar to the movement of a character towards or away from us. If the character is evil, then the camera may appear aggressive or threatening, as it invades our emptiness.” If the character is attractive, then the movement towards the camera appears friendly, seductive, even sometimes leading to the meaning of seduction, whatever the case, the movement towards the audience is generally strong and confident, and it suggests With confidence on the part of the animated character. (V-r)

Movement away from the camera tends to imply the opposite meaning. The intensity decreases, and the character seems to recede, as it withdraws away from us as a result. The audience feels “belief when the villain moves away in this way because he is so He increases the protective distance between him and us. In some contexts, such movement can seem weak, scary, and suspicious. Most films end with a withdrawal of some kind, either of the camera from the set, or of the characters away from the camera. The final shot of Vittorio De'Sica's "The Bicycle Thief" shows the two defeated and humiliated protagonists walking away from the camera and entering a crowd of people. The effect is one of infinite subtlety and deliberation, as if by pursuing these characters we were invading their solitude. More than that would mean

There is a great difference between lateral movement on the screen and movement towards or away from the camera. The text may simply require the character to move from one place to another, but how does the director choose the method of filming the movement that determines most of its psychological implications if the character generally moves from right to left or (On the contrary) it looks determined, efficient and a man of action. Such movements are necessarily filmed at short lengths, unless the camera is very far away in its range. Such shots remain for only a few seconds. Since the lateral movements tend to deepen the speed and efficiency, they are It is often used in action-packed films as a fast-paced clip of fast shots strung together to suggest a certain masculine assertiveness.

On the other hand, when a character moves outside or inside the “depth” of the scene, the effect is mostly slow and tedious, and unless the camera is close range or a very wide-angle lens is used, the movement towards or away from the camera takes longer than the sideways movement to photograph. Such motions when photographed with a telephoto lens appear quite plodding. In addition, when this movement is filmed in depth by operating the camera continuously for a long time, the audience tends to expect the end of the movement, and thus the feeling of boredom and disappointment deepens while we wait for the character to reach his goal. This happens especially when the character's goal is visible as the end of a long corridor, for example, then the audience's anxiety in general increases if they have to watch the event