فصل الدراما ، الملابس والماكياج والمناظر ٣-a .. كتاب فهم السينما

The early 1930s largely took place inside the studio, despite the urban scenes. The interior scenes of external filming locations originally gave the film a kind of immobility, which from a psychological point of view is appropriate. Horror films of this period, for example, benefited from this type of typical unrealism.

However, these are just generalizations. There are some Western films that were shot mostly indoors (7-28) and some musical films were shot on outdoor locations. It all depends on how these films are made. If the location is very romantic, for example, why not take advantage of this scene for a musical movie? The Parisian scenes of Minnelli's film Gigi are a good example of how a location can increase the genre's value. Likewise, the movie associated with a historical period (Tom Jones), as it uses a number of exterior scenes in London.
Rose Marie's Child is a realistic horror film, meaning that the film tries to show us the supernatural elements in everyday life. Director Polanski wisely chose to shoot in outdoor locations whenever possible.

Since the 1950s, more directors have preferred location shooting to studio shooting. At least in terms of the exterior views. There are some filmmakers who insist on real scenes, even interior ones, which are relatively easy to do in the studio. Perhaps the most famous, if not scandalous, example of this kind of rush for real scenery is the film by Erich von Stroheim, who hated Studio 29-7. In his film Greed, Stroheim insisted that his actors actually live in a motel.
sleazy in order to “feel” the low-key environment for the kind of life the film requires. He forced them to wear sleazy clothes and deprived them of the luxury that the characters suffer from in their reality. The film's realism was uncompromising, perhaps because of the hardships endured by the film's actors and technicians. Contemporary directors such as Jean-Luc Coudard avoid studio scenes, claiming that they can diminish the film's realism in a thousand small ways.

The environment may be used to give a sense of progress and development. In Fellini's movie (The Street), for example, we see the hero and his feeble-minded assistant reasonably happy as they travel together from one city to another with their theatrical games. After he abandons her, he heads to the mountains. Gradually the landscape changes, trees stripped of their leaves, snow and filthy mud covering the ground and the sky becoming a somber grey. The changing surroundings become a metaphor for the hero's spiritual condition, and nature itself seems sad because the poor girl is left to die alone.

In Tom Jones, Richardson uses an increasing fading of color in his scenes to suggest the moral character of the three sites The Heir, The Road to London, and London itself. Bright colors are used to convey the full richness of Tom's former life in the country. The closer he got to the city the more scattered the colors became, more gray and sicker. London itself is almost colorless, except for the cheaply baggy clothes of the rich and powerful. Cinema, then, is a typical medium for dealing with themes of man's relationship to nature. Such themes are rare in theatre, but they are common in the cinema. A few examples of this are the films The General, The Gold Rush, The Rules of the Game, The Searchers, and McCabe and Mrs. Miller.

Cinema even with interior scenery can go miles beyond its environment. On stage, admiration is generally presented as the curtain opens, and then forgotten when the actors gain the center of attention. In the cinema, the director can continue to cut into the scene to remind the audience of its importance.
In essence, it is to have the dramatic power of the character, as we find in Ken's huge mansion (Xanadu) in the movie Citizens (Ken). The lavish estate was used to visually show Ken's imaginary wealth and his increasing control over others during his lifetime. He continues to add more and more of the store to his His palace Even his second wife is one of the assets stored in this large storehouse The castle is a strange mixture of styles and historical periods as Kane's character was an unsteady mixture of psychological contradictions In the end the dwelling becomes a strange prison as Kane discovers belatedly that a person can be possessed by his possessions .

Film can cut a scene into a series of shots, emphasizing an aspect. The room once in a while another side depending on the director's needs to find who The suitable analogy for psychological and objective ideas. In Luzi (The Servant) the ladder is used as a major thematic symbol. The film deals with a servant who gradually takes control of his master. Lozy uses the ladder as a kind of psychological battlefield where the relative positions of the two men on the ladder give the audience a sense of who is victorious in the battle. Lozzy uses the fence on the stairs to suggest prison bars. The “master” of the house is often filmed from behind bars. In John Frankenheimer's All Fall Down, separate rooms and corridors in a house are used to suggest the emotional rupture of a family. The father is usually seen in the basement, the mother is on the ground floor, and the two boys are in the upper bedrooms.

Even room furniture can be exploited for psychological and objective reasons. In a class Eisenstein once discussed at length the importance of a table in a scene (7-30) The class exercise was centered on a setting of Balzac's novel Father Curieux.) The scene revolves around the dining table, which Balzac describes as circular, but Eisenstein argues persuasively that the round table is cinematically wrong, as it denotes equality, so everyone is associated with a circle. The house, and the favored guests sat near her, and lowly Curio sat alone near the foot of the table.

Such meticulous attention to detail of a scene often distinguishes a master of film from a mere technician content with only general effect. In fact, some directors feel that scenery is so important that they create different versions for separate takes. In The Graduate, Nichols wanted to emphasize the sudden sense of loss and humiliation of Anne Bancroft when she is betrayed by Dustin Hoffman. For the purpose of expressing more forcefully, an independent viewfinder was created with a corridor larger than the usual size rising above it. With the shooting at a high angle, there is a large area of ​​white wall to One side and a huge empty corridor on the other, and when Miss Palcroft appeared she was physically the size of a dwarf as she felt.
More cinematic than theatrical, theatrical theatrical scenery can command the central attention in film. In Kubrick's film (2001, A Space Odyssey), the director spends more of his time lovingly depicting the spaceship's devices, the various space stations, and the vast expanse of space itself. Interesting center of gravity - parallax. It is impossible to produce a movie (2001) on stage. The “language” in the film cannot be reversed theatrically. Although the film may be an extreme example of how cinema is expressed, it nonetheless represents a logical extension of Bazin's observation that we quoted in the opening of this chapter. that