فصل الدراما ، الملابس والماكياج والمناظر ١-a .. كتاب فهم السينما

Clothes, makeup and scenery

The clothes in the most sensitive films and plays are not just decorations added to deepen the illusion, but they are manifestations of the personality and the subject. When she is happy, usually with her children or when she is pregnant, her clothes are plain and a bit neglected, and her hair is loose and messy. And when she feels miserable and useless, her clothes become elegant and fashionable, but strange and sterile. One of her particularly impressive outfits consists of a smartly tailored bodysuit and an exaggerated Creta Carbo hat that hides her hair. The final effect is somewhat like a stylish maniac suit.

Some clothes, depending on the details, fabric and size, suggest fizz It is an expression of sensitivity, tenderness, dignity, and so on. Clothing, if cinema is special, where a large shot of a textile thread can provide independent information about the owner of the clothing himself. One of the great directors is sensitive to the meanings of clothing is Circe Eisenstein. In his film Alexander Nevsky, the invading German herds looked terrifying primarily through clothing. Soldiers' hats, for example, do not show the eyes, but there are two ominous slits in the front of the metal hat (7-22) In Eisenstein's movie (The Terrible Evan), the evil prince is depicted as an animal, especially the princess, who, with her huge black headdress and black suit, looks like a huge evil eagle. As for Evan, he is like Christ, at least in the first half of the two-part film, with his simple, flowing hair, beard, and modest white robe.

Fellini's clothing in Juliet (The Spirits is intentionally strange theatricality (7-23). ​​The cheap reds and yellows, the many feathers and the fanciful extravagance of the women's robes are used in particular to express the world of low art in which the heroine's husband lives, a world that seems to combine the characteristics of a circus into a Aside from the specifications of the brothel. The symbolism in color was used in the movie (Romeo and Juliet by Zeffirelli. The Capulet family are Juliet's family. They are known as aggressive nouveau riche. Their appropriate colors are bright red, yellow and orange. The Romeo family, on the other hand, is older and perhaps more ancient, but it is in clear collapse. Their blue dress And dark green and violet These two color schemes find an “echo” for them in the clothes of the servants in every home, as they help the audience to identify the wrestlers in the tumultuous scenes, and the colors of the clothes can be used to change or transition. To marry Romeo wears blue Line, in addition to color, can be used to suggest a psychological characteristic, for example, vertical lines tend to emphasize transcendence and dignity (Mrs. Montacaif) and horizontal lines tend to emphasize craftsmanship and sarcasm, Nurse Juliet).
Perhaps the most famous costume in the history of cinema was Charlie Chaplin's Tramp's robe. The mustache, black bowler hat, and wrist all suggest delicate elegance. The cane is used specifically to give the impression of self-importance when Charlie confidently walks past the hostile landmarks. But his over-sized, saggy trousers, girded with a piece of rope, his oversized boots, and his narrow jacket all suggested Charlie's social insignificance and poverty. This dress symbolizes Chaplin's look
For humanity: self-deception, vanity, absurdity, and finally pathetic weakness.
Makeup in the cinema is generally more subtle than in the theatre. Theatrical actor tends to use make-up primarily to enlarge his features so that you can see from long distances on the screen. Even the most subtle changes in make-up can be seen in the movies. Maya Farrow's pale green face in Roman Polanski's movie (Rose Marie's Baby), for example, is used to suggest the growing depravity of her body when she bears Satan's child. Such as the grotesque make-up of the two actors in Fellini's Satyricon, which suggests decomposition and death in life for all the Roman population of that period. In Tom Jones, Richardson uses complex, artificial make-up for city characters such as Lady Plaston to suggest their wickedness and decadence in mannerist cabarets - comedies - in the eighteenth century, make-up was an elaborate source of imagery to suggest falsehood and hypocrisy. The country characters on the other hand, especially Sophie and Stone, have more natural makeup, without wigs, powders, or smudges.

Cinematic make-up is closely related to the type of dress the actor wears. In general, stars prefer makeup that increases their charm (7 - 24) Dietrich, Carbo and Monroe usually had an ethereal makeup, as it deepens the effect of all features to a kind of exquisite perfection. Ordinary actors are less interested in magic unless the characters they are portraying are actually witches. In an attempt to drown out their real personalities, such actors often use make-up to lessen the familiarity of their features to the audience. Brando and Olivier in particular like to wear fake noses, wigs and disfigured cosmetics. Although Aaron Welles is primarily known for playing strong and dominant roles, he also resorted to such makeup tricks to increase the differences between his roles. Non-professional actors usually wear as little makeup as possible because they are chosen specifically for their real and interesting physical appearance.