فصل المونتاج ، اندریه بازان والإختيارات (البدائل) الواقعية ٣-a .. كتاب فهم السينما

the screen. Explicit depth tended to be more impressive when it adhered to the continuity of a unified place and for this reason this style was thought to be more theatrical than cinematic. The dramatic effects were achieved primarily through the mise en scene rather than through the fragmentary juxtaposition of shots. Bazin is particularly generous with his images in praising Wyler's "invisible" and "non-stylistic" style, where editing is kept to a minimum and characters are kept moving in one unified space (4-20). Some of the most influential films making use of deep, clear photography were Wheeler's films of plays, notably Little Foxes, The Heiress, and The Children's Hour. So did Welles, who was actually trained in the theatre, spending most of his film career after plays, including two exceptional Shakespeare settings, Othello and Folstaff.

Bazin's admiration for the film Citizen (Kane) was not limited, especially his discovery of clear, deep photography. The balance of this style inevitably diminishes the importance of montage. Deep clear photography preserved the unity of real time and space as long as whole scenes could be filmed in a "blended" shot - It includes near, medium and far distances at the same time within the same frame.It is possible to embody different spatial levels amounting to two, three or even four in one cycle, and thus the important psychological and physical relationships between people and their environment can be preserved.

Bazin also liked the objectivity and propriety of deep, clear photography. And if we ignore for a moment the elements of emphasis in composition and movement, the details within the shot can be presented more democratically, as they say, without the special attention that inevitably precedes the big shot. Thus realist critics such as Bazin felt that the masses would be compelled to be more creatively involved - and less passive in understanding the relations between people and things. Sorting and deletion of non-missions in their own way.

In short, clear, deep photography allows the viewer to exercise his creative powers of choice with the same freedom he uses in real life.

Immediately after World War II, an informal movement called neorealism emerged in Italy, gradually influencing filmmakers all over the world. The spearheads in this movement were Rossellini and Desica, both of whom were favorites of Bazin's, and both of whom kept editing to a minimum. These two directors preferred deep, clear photography, long shots, long sessions (4-21), and strong control over the use of large shots. Presents the film Rosolini In it, entitled (Bayzan), a scene illustrated in one cycle, the realist critics were very impressed. In the scene, an American recruit talks to a shy Sicilian girl about his family, his life, and his dreams. Unfortunately, neither of the two people understand each other's language, but they try to understand each other despite the great obstacle. Rosolini, by refusing to condense time through the use of separate shots, emphasizes the confusing pauses, hesitation, and abandonment between the two characters that the long cycle of You don't know, it's the wide screen, like many of the technological innovations in film, which sparked a wave of protest from most critics and directors. Many feared that the new format of the screen would kill the large shot, especially the human face. There is simply too much space to fill even on long shots as some have complained about. The masses will never be able to fully comprehend where they are looking. This wide screen was more suitable for horizontal compositions, as some have argued, and useful for epic films, but it is inconsistent with interior shots and small objects.” (4-22) Fritz Lahnck claimed that the wide screen is only useful for depicting funeral processions and serpents. The Impressionists complained that the montage would be further reduced because there would be no need to cut if everything were there and arranged in a long horizontal series.

By keeping it in real time, we go through with the characters experiencing the same tension that increases at the beginning and then eases, scenes depicted in one cycle such as this tend to instill a sense of increasing anxiety, often unconsciously, in the same scenes. We expect the filming location to change during the scene, and when this does not happen, we often feel uncomfortable and we are almost unaware of what is causing this anxiety.

At first, most wide-screen films were westerns and extravagant historical films. And it wasn't long before a few directors began to use the new screen with greater precision. The scoop was like a clear, deep shot that dictated that the director take greater care in setting the mise en ensemble. One tire had to have even more important details in the rims. But this necessity also meant that films could be more intensely saturated and, potentially at least, more artistically impressive. In addition, the directors discovered that the most expressive parts of a person's face are his eyes and mouth, and it follows that the large shots that cut up and down the actor's face were not a disaster as some previously expected.

It is not surprising that realist critics were the first to reconsider the merits of the wide screen. Bazin loved the wide screen, its documentaries and objectivity. And here we find another step away from the disorienting effects of montage referred to by Bazin. The wide screen, such as the deep, clear photography, helped maintain temporal and spatial continuity. It is now possible to shoot a close-up that contains two or more people in one shooting location without suggesting the inequality that was done by shooting with clear depth, but with a full variety of levels of depth. Relationships between people and things are no longer as severe as they were often in the productions. And the scope is also more realistic because the screen's capacity overwhelms the viewer with a sense of experience suggesting a kind of cinematic equivalent of seeing the circular eye. Thus attached to the wide screen all the advantages that were attached With sound and imaging in clear depth, from the great fidelity to real time and place to the detail, complexity and density to the most objective presentation, to the most coherent continuity to the greatest blur to the encouragement of wide screen. For the public to "participate" creativity.