فصل الحركة ، التشويهات الآلية للحركة ٢-a .. كتاب فهم السينما

Film animators can use most of the artists' techniques of different types of paints, pens, pens, pastels, watercolors, greases, etc.

Some filmmakers combined the live action style with the animation style in the movie (Neighbours), for example, Maclaren used a method he called (pixelation), which includes filming the actors picture by picture, and cinematically called stop motion photography. When the clip is shown on the screen, the actors move with a sudden, jerky movement that suggests primitive animation forms. Other filmmakers have blended animation and theatrical styles into the same framework. This mixing was done by optical printer. Two films are projected, one on top of the other containing the frames of the animation and the other on the images of real people and real things. There is a black screen used to obscure specific areas of the actual scene where the illustrations will appear in the final print. Disney used this method in many clips of the films (Song of the South) and (Mary Poppins). This method is not always successful as the truth of the first method tends to contradict POSSIBLE LIMITATIONS OF THE SECOND METHOD The world of animation has a kind of "reality that is often inconsistent with. Real objects and people. Rapid motion is achieved by shooting action at a speed slower than twenty-four frames per second. The subject being filmed usually moves naturally. When the clip is projected onto the screen At a speed of twenty-four frames per second, the result is a ridiculous acceleration. Usually, the first silent comedies were filmed before the standard speed of cameras and projection machines was fixed at a speed of twenty-four frames. 2. Early directors used fast motion for comic effect. Dropping the acceleration, the great comedies of MacSaint Pictures

It loses most of its vibrancy and the beautiful timing of Keaton and Chaplin's films will be shattered.

According to the French esthetician Henri Berkson, when people act mechanically rather than flexibly, the result is often comical. A person, unlike a machine, can think, feel, and act rationally and appropriately. A person's intelligence is measured by his ability to be flexible. However, when he becomes machine-like and inflexible in his behavior, we laugh at him. One of the aspects of machine-like behavior is speed. When a person's movements increase on the screen, he looks inhuman and funny. Dignity is impossible with rapid movement, as acceleration loses a person's humanity and turns him into a mere self-machine that appears wild and out of control. Even when used for its own sake, fast motion tends to be ludicrous in Lester's A Hard Day's Night. Acceleration is just one of dozens of visual acrobatics in the film. Other directors use the technique more organically for thematic purposes or as a character-building aspect. The boisterous mix at the Upton Inn in Richardson's Tom (Jones) is funny for that very reason. The fast action shows our expectation of mechanical movement for all the characters. Tom flies out of Mrs. Waters' bed, Mr. Fitzba Trick flies off the handle, and Mayor Weston yells at his daughter. servants screaming for their lives Rapid motion is sometimes used to deepen the natural pacing of a scene—the galloping of horses, for example, or the masts speeding across the camera.

Slow motion clips are made by shooting action at speeds greater than twenty-four frames per second and displaying them at standard speed. Slow motion tends to imbue movement with dignity and pride, and even the most trivial act takes the guise of graceful, choreographed motion when filmed at slow speed. Where the speed tends to be the natural rhythm of the comedy, the intended slow movements tend to be associated with the tragedy. When violent scenes are filmed in slow motion, the effect is the opposite of what we expect. The tearing of the skin, the explosion of blood, the fall of horses, and the almost endless forms… The beauty of this The scenes become ugly, suggesting the question of the motives of people's addiction to a seemingly useless life of violence. Violence is semi-esthetic, something similar to what Hemingway's stories depict. The slow pace of violence almost becomes a trademark of Peckinpah's work, but after the mid-sixties many directors began to imitate this style, and this tradition quickly degenerated into cinematic molds.
Reversed motion simply involves depicting an action or event by running the film backwards. When the film is shown forward, the sequence of events is reversed. Reversed movement has not evolved so much since Méliès' time than theatrical acrobats. Director Lester is fond of using this technique for satirical effect. In the movie (Night of a Hard Day), he uses the reverse movement as a comic movement designed for a "repeating" movement, and in the movie (The Snack) he uses it for sudden, quick laughter as the egg returns to its shell. In Jean Cocteau's movie entitled (Orpheus), we find one. The most expressive use of the reverse movement is mixed With slow motion The hero has made a journey to hell to get his wife back There he commits a great sin and expresses his desire to return to his original point of decision to correct and magically rushes back before our eyes by slowly moving the previous syllable backwards The reversed movement in this stanza is like Good on how space turns into time and time into space

Freeze frame suspends all motion on screen. One image is selected and reprinted in the necessary number of frames to give the impression of "frozen" motion. When we intercept a sequential scene with a static shot, the director raises our attention to the image and presents it, as it is said, to entertain the audience. Sometimes the image is a poignant, fleeting moment of only a fraction of a second, as in the closing shot of Truffaut's The Four Hundred Blows. Directors also use still frames for comedic purposes. In Richardson's (Tom Jones) film, the director freezes a shot of Tom hanging from the end of a mountain, while the narrator carelessly explains to the audience why Tom should not be hanged.

In other cases, the rigid framework can be used for semantic purposes. The closing image of Chardson's film, the loneliness of a long-distance jogger, freezes in order to confirm the continuity of the hero's condition at the end of the film. ) as he jumps his horse over a fence Hathaway creates by stopping the shot at the top of the jump a metaphor for timeless greatness The shot suggests a heroic knight statue untouched by the damage of time Of course the absence of movement is often associated with death Hathaway's rigid frame also suggests this idea Perhaps a clear metaphor for death can be seen At the conclusion of George Roy Hill's "Boog Cassidy and the Sundance Boy" movie, the leads (Paul) Newman and Robert Redford (freeze) before being fatally shot. And Will's frame, like Hathaway's rigid frame, suggests a kind of final triumph over death.

Most of the mechanical distortions mentioned above were discovered by Méliès, although the zoom lens was discovered much later. These methods were neglected for several years by most commercial filmmakers until the end of the 1950s, when French New Wave directors re-used them since the early 1960s. Many of these methods were used indiscriminately. However, since that time, zoom shots, static frames, and slow motion have been used almost always according to the rules. In many cases, these methods have degenerated into rigid templates and successful imitations attached to the film material without regard to the organic connection to the spirit of the material.

The movement in the film, then, is not just what happens in front of the director, dozens of ways to express the movement, and what distinguishes a great director from another who is capable only is not the issue of what happens, but rather how do things happen and the extent of the suggestive power and resonance that the movements cause within the framework of a known dramatic context? Or how does a form occur Movement content with effect?