فصل الحركة ، کنیستيزيا [ التحريكية ] ٤-a.. كتاب فهم السينما

The film made for this play is epic in essence and emphasizes long shots. Tony Chardson's version is primarily a psychological study in which medium and close-up shots dominate. Olivier's film emphasizes clothing and scenery. There are many distant shots, especially at the sleeping senor's castle. And he used a lot of interaction between Hamlet and this overbearing atmosphere. The film tells us at the beginning that it revolves around a man who could not make up his mind. Long shots were used throughout the film to visually confirm this interaction. Most of the loose frame shots suggest that Hamlet (whose role is played by Olivier himself) has great freedom of movement, freedom of action. However, he refuses to use this freedom and prefers to hide in dark corners. He is paralyzed by hesitation when he moves. This movement is generally recorded from long distances, thus deepening the hero's helplessness in his relationship with the environment.

A place from Richardson gives us a relatively unimportant Hamlet for costume and scenery. We see hero Nicole Williamson almost always in big, taut frame shots. We find Hamlet Williamson, unlike Hamlet Olivier's contemplative and hesitant, we find him hasty and impulsive, a man who often acts before he thinks. The tortured hero is trapped by the big shots and tries to spill from the edges of the frame into “oblivion.” The unbalanced handheld camera could hardly keep up with his frantic leaps to the spot. If the same movements were filmed from long range shots, the character would of course appear to be moving more naturally. In the formal theatre, these two interpretations must be accomplished by different means, as although drama is a formal means of expression, the size of the frame (scene or stage aperture) remains the same throughout the duration of the play. be done in part

If there is a lot of movement in the big shots, the effect of this will be exaggerated on the screen and may have been blurry as well (3-11). Tends For this reason, directors tend to use these ranges for relatively static scenes. Moving two people talking and nodding, for example, is more than enough movement to prevent most So the middle shots of lifeless appearances are an unforgettable two-shot clip from Elia Kazan's River's Edge. Set in the cramped back seat of a taxi, brothers Marlon Brando and Rod Steiker begin some manly talk. Brando painfully reminds his older brother that (i.e.) (Brando) would have been a famous boxer had the older brother not interfered and controlled the fight. The facial expressions and gestures of the two men represent the only significant movement in the scene. And with the scene, it seems electrified with energy primarily due to the skill of the actors. Brando's aching, love-struck groan was fully conveyed by the subtle changes of his face. His baffled shyness is reflected in his bewildered hand gestures. Stecker's blazing rage gradually shrinks into recollection and shyness, and with mad eyes he shiveringly avoids Brando. In the end, after he finds himself guilty, Steiker is about to collapse, and yet the actual movement in the scene is at least a groan, a small head nod, or a fleeting shoulder movement. Face

The close-up is getting more accurate in motion recording (3-12) Director Berkman's films called “shit movies” - such as (Silence) and (Persona) depend very much on the big shot, as these films are limited by narrow interior scenes, small groups of actors, and static situations. Robert Bresson and Carl Dreyer can pull off wide and subtle movements together by capturing an expressive face in a large shot. In fact, these directors used the human face as a source of spiritual and psychological perspective. In Dreyer's film Saint John, for example, we find that one of the most powerful scenes is a large shot of Saint John Falconti at the moment when a tear spills from her eye. The stream of tear, enlarged thousands of times in size in the close-up, represents a movement descending to an immeasurable resolution on the face of the screen far more powerful than the empty cavalry charge and clash of armies in traditional epic films.

Stereotypical techniques are almost always the sign of a second-rate exit. there Certain emotions and ideas such as joy, love and hate are so common in cinema that the serious film artist, constantly searching for new ways of presentation, must find ways that can give the banal uniqueness and turn the familiar into something fresh and unexpected. Anxiety over the death of a lover, for example, is a well-known and common theme in films. This prevalence has degenerated and has become a recurring image. That remains a global topic, capable of moving the feelings of the masses if it is dealt with to any degree. Fantasy and originality. with and because of whom

One way to avoid boring repetition is to communicate feelings through symbolism in movement. A film director, like a choreographer, can exploit subjective meanings.

It is indicative that if the dancer wants to express the meaning of anxiety over the loss of a beloved, his movements may be intermittent, consistent with the emphasis on the slow, solemn, descending movements. With a film director, he can exploit the same kinetic principle, but within a different physical context. At the beginning of Citizen Kane, for example, we realize that Kane has died when we see a thin glass ball shattering on the ground into small pieces. This descending movement is followed by a shot of a window awning of the room in which Kane is lying ill, and it slowly turns off the only source of light in The King and I, by the director. Walter Lanck we realize that the seriously ailing king Paul Price is dead when we see a large shot of his hand slowly sliding down the frame and finally disappearing off the bottom edge of the frame into the darkness in Eisenstein's film Old and New (aka General Line) A precious bull dies and his death has major consequences For the agrarian collector who bought these results we find their expression in two parallel shots that confirm the same kind of symbolism in the movement. Eisenstein first shows us a very large shot of the dying bull's eye slowly closing, we see the drooping eyelid of the sad eye enlarged several times due to the closeness of the shot. Eisenstein then cuts to A shot of the sun descending towards the horizon Wavy rays of light slowly receding as the sun sinks below the edge of the earth Thor's death may seem trivial but for the toiling members of the agricultural complex it has cosmic significance as their dreams and hopes for a better future die with the death of the animal. Context, of course, is all in the movie. The type of symbol used

Attached to some types of movement and even alleged abstract movements tend to suggest ideas and feelings - (13) Some movements seem to us soft and submissive, for example, while others seem harsh and aggressive. Vibratory and curved movements are generally feminine and majestic. and strong. Movements can appear whispering, jerky, explosive, withered and more. Besides, the filmmaker, other than dancing, can exploit symbolic movements without using people to perform them.