فصل المونتاج ، اندریه بازان والإختيارات (البدائل) الواقعية ٢-a .. كتاب فهم السينما

Bazin wrote many articles implicitly or openly criticizing the art of montage, or at least some aspects of its conception. Bazin noted that montage is based on the aesthetics of fragmentation, as it "interrupts" real time and space and rides in a new continuity that has no basis in reality. If the dramatic essence of the scene is based on the idea of ​​division, separation, and isolation, then montage can be an effective method for communicating any of these ideas. 17) The filmmaker can do this by introducing all the variables within the same framework, i.e. by exploiting the sources of long shot, long cycle, deep sharpening and wide screen. The film-maker can also preserve real time and space by horizontal rotation, lifting, vertical rotation and follow-up, not by cutting between single shots.

In John Huston's The African Queen, a shot depicts the Bazin principle when the heroine attempts to tow her canoe to a large lake. The boat of the two heroes (Humphrey Bouckart and Katharine Hepburn) becomes stranded in a tributary on the side of the main river. The tributary twists into a stream and finally drips into a net of sedge and mud where the tired canoe plunges desperately into it. Mud The two weary travelers succumb to a slow death among the suffocating sedge and finally fall asleep on the floor of the boat.The camera rises above the sedge.There, only a few yards away, is the lake.The bitter irony of the scene is reached by the incessant movement of the camera which maintains the physical dimension of boat and sedge. The separator and the lake Had Houston cut it into three shots we could not understand these spatial relations and as a result would have sacrificed irony (4-18).

Bazin noted that the technological development of cinema and almost every innovation has moved the medium closer to the realistic ideal. The creation of panchromatic raw film (which is influenced by all colors) in the mid-1920s enabled filmmakers to obtain richer different types of grays in their images Flaherty's (Mona) popularized filmmakers from eliminating the hyper-contrast whites and blacks that had inevitably appeared on the crude orthochromatic films of the pre-1925 era. At the end of the 1920s, the innovation of sound forced Cinema to be more realistic in color and photography with deep illustration in the thirties and forties brought cinema closer again to this realistic model, the popularization of the wide screen more in the fifties reduced the need for cutting, as we shall see, although Bazin wrote little about the introduction of stereoscopic film in the fifties, he certainly did not exclude it As did all other critics and theorists of his time, the creation of the stereoscopic film like all other technological innovations represented a step towards bridging the gap between the truth and the “artificiality of the wide screen.” In fact, Bazin indicated that Impressionist montage techniques had been changed by technology rather than by film theorists and critics in 1927 when he introduced "The Jazz Singer" sound suppressed nearly all the progress montage had made since the days of Porter. With the advent of sound, films had to be more realistic, whether their directors wanted it or not, as the pick-ups were placed in the same scene (4-19). The sound was recorded during the shooting process, and the pick-ups were hidden in a vase or carried in a wall. Thus, in the early sound films, we find not only the lack of freedom of movement of the camera, but also of the actor, as if the actor moves away from the camera, it becomes difficult to record the dialogue in a satisfactory manner.

The effects of these first films on sound editing were a disaster. The sound composed with the image was a hindrance to it, for the complete scenes were represented without cuts, almost all dramatic values ​​were sound, the most insignificant passages held the admiration of the audience, and so the camera recorded the entry of a person into the room, whether it was dramatic or not, and millions of viewers were excited by a voice The doors open and then close forcefully. Critics and directors despaired, as the days of the recorded play returned. It seems that these problems were later solved by inventing the “silencer”.
It is a soundproof cover that allows the camera to move easily and by adding sound after the shooting is done).

However, the sound also provided some clear advantages in realistic films, especially, the dialogue and sound effects deepened the sense of realism to a great degree. Acting styles had to be more sophisticated, the performer no longer needed visual exaggeration due to the absence of sound. Talkies enabled directors to tell their stories more economically, and without the titles that interrupted the picture in the days of silent cinema, the unpleasant explanatory scenes with which most films began could also be dispensed with, since a few lines of dialogue could easily communicate any necessary information the audience needed to understand the relationships. narrative.

The use of clear depth in photography, which Renoir re-introduced in the thirties, created a modified effect on montage practices. Lenses prior to this date had only one plane of clarity. These lenses were able to embody a clear image of the object from almost any distance, but unless a large number of additional lighting lamps were installed, the other image elements that were not located at the same distance from the camera appeared distorted and unclear. One of the justifications for montage was technical research, i.e. the clarity of the image. And if it is required that all the far, medium and close shots be of equal clarity, then different lenticular changes must be available for each of them.

Depth photography became especially popular after its use in 1941 in Citizen Kane. The names of Orson Welles and William Wyler are particularly associated with this style, and it is perhaps no coincidence that these two American directors have an association with the formal theatre. Pronounced depth allows the use of composition in depth. Entire scenes could be filmed in one place, without sacrificing detail, as every distance appeared equally clear on the camera .