فصل الدراما ، الملابس والماكياج والمناظر ٢-a .. كتاب فهم السينما

In the best films and theatrical productions, the scene is not just a backdrop to the action, but rather an extension of the theme and the corresponding characters, conveying information such as lighting, clothing, and make-up. Scenes not only tell us about the tastes and habits of the characters, but they can also be used to suggest certain symbolic ideas, especially in cinema. Scenes can be realistic or impressionistic, depending on the nature of the artwork. However, in both cases, theatrical scenery is not required to be as detailed as cinematic scenery, since the audience is far from the stage, which does not make them notice the details. The theater director in general must work with fewer scenes, which are usually scenery One for each season, and so he must inevitably accept less accuracy and variety than a film director who does not, in reality, face such restrictions, especially if he is filming on location.

Place problems force the theater director to constantly accept compromises with regards to his scenery. If he uses too much of the upper stage (behind), the audience will not be able to see and hear well. And if he uses elevated platforms in order to enable the actor to control, then the director faces the problem of returning his actor to the level of the stage quickly and persuasively, and the theater director also has to use a fixed-sized space. His view is restricted to the distant shot.” If he wants to suggest a broad field, for example, he must resort to some traditions. He can move the verb in such a way as to suggest that the area of ​​representation is just a small corner of the field, or he can stylize the scene by using a cyclorama that gives the illusion of a vast sky in the background (25) If he wants to suggest an enclosed space, he can generally do so for short periods as the audience grows weary. When the actors are restricted to a small acting area for long periods, the theater director can use vertical, horizontal and inclined lines in the scene to suggest psychological states, but unlike what the film director does, these lines (or colors and objects in scenes that do not fit with them) cannot be removed.

The film director has more freedom in the use of scenery. The most important of them, of course, is that the cinema enables the director to shoot outdoors, and this is a huge advantage. A number of great works by senior directors would not have been possible without this freedom. These include Krivith, Eisenstein, Kitov, Kurosawa, Fellini, Antonioni, Desica, Kodar, Truffaut, and Renoir. Antonioni often builds his films around an outdoor location in the Red Desert. For example, the main character in the film is actually the abandoned and polluted industrial area of ​​Ravenna in northern Italy. In Zabarisky Point, the middle part of the film takes place in Death Valley, which Antonio uses as a metaphor for the futility of contemporary America. Epic movies from in

It wouldn't really be possible without ultra-telephoto shots of vast distances from Earth. Poetry in John Ford's epic films, for example, is found in the beautiful depiction of the American plains, mountains, and deserts.
Certain types of films were shot in the open air in a traditional manner, most notably Western films, Samaritan films (Japanese), many documentaries, and those films that deal with nature. Other genres, especially those With films that require a certain degree of stylistics or intended non-realism associated with the studio, such as musical films, horror films, and films related to historical periods (7-26). These genres often emphasize a closed magical world and the imagery taken from real life collides with these turbulent qualities at their core. Even a good musical like "In the City" contains some strange inconsistencies that result from the collision between the feet shot in the studio and the shots shot on location outside New York City intersecting. with her .

During the golden days of the American studio system, scenes were created indoors whenever possible. Most directors felt that such scenes allowed him to have greater precision and control (27،7). Even gangster films were shot in