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【Abstract】These elements form a complicated with creative montage system and the combination of long take practices and montage system achieving a notable effect. Montage has changed gradually as the development of the practice of film. Meanwhile, although completing a good shooting sequence or a good film is influenced by the film theories and style of shooting, these also are influenced by cultural and political background and history of different countries. In addition, according to the analyses and discussions of shooting techniques, reading the practices of montage and long take in details, we can find that the antithesis between the formalistic and the realistic are not obvious in—Chinese cinema of the last thirty years. Chinese commercial films of this period have demonstrated a strong inclination towards montage techniques while resorting to long-take visual strategies in some cases.
【關键词】Chinese films; antagonism; long take and montage
【作者简介】Lin Ya, University of Melbourne.
Introduction
The Dead End is a 2015 Chinese crime drama film based on Xu Yigua’s novel Sunspot (YouTube, 2018). The film is directed by Cao Baoping. There are the two main reasons which I choose this film as a case analysis in my research essay. Firstly, the plot become more in-depth step by step (IMDb, 2018). In the beginning, the director gives the background of the whole story, but in the end, many reversions appear. Two main lines are presented clearly, one is the sheriff has been tracking down the truth, another is the three previous perpetrators have been hidden in various ways (IMDb, 2018). The two lines intersect, resulting in the intense collision and the reversal appear in the ending, giving the audience an impressive experience. secondly, the technique of montage and long take both have play a strong role in The Dead End (2015) which are representatives of the sort of tendencies in contemporary Chinese cinema that I am describing.
I will use the beginning of The Dead End (2015) as the main case to concentrate on the application of montage because this film is a typical representative which can show the montage practice of Chinese film. Although the four-minute from the beginning pictures are all montage applications, the types of these montages are different. I divide the four minutes into three different montage parts and will analyze them specifically. There are three main montages applied in the first four-minute, sound montage, editing montage and the hue style of montage. Meanwhile, the montage through all the four minutes in different aspects, it involves the transformation of takes, the connection of takes, sound, and speed of takes. These different practices of montage applied in some takes at the same time. Moreover, we can find that the starting four minutes (from the 1’43s to 5’53s) presents the background of the storyline and leave much suspense to attract audience keeping watch this film. The director used these montages at the beginning to take audiences into the direction of the plot set by the director, although the truth of ending is an inversion and has shocked many audiences. The purpose of the director is achieved to a large extent by means of these montages. Finally,
【關键词】Chinese films; antagonism; long take and montage
【作者简介】Lin Ya, University of Melbourne.
Introduction
The Dead End is a 2015 Chinese crime drama film based on Xu Yigua’s novel Sunspot (YouTube, 2018). The film is directed by Cao Baoping. There are the two main reasons which I choose this film as a case analysis in my research essay. Firstly, the plot become more in-depth step by step (IMDb, 2018). In the beginning, the director gives the background of the whole story, but in the end, many reversions appear. Two main lines are presented clearly, one is the sheriff has been tracking down the truth, another is the three previous perpetrators have been hidden in various ways (IMDb, 2018). The two lines intersect, resulting in the intense collision and the reversal appear in the ending, giving the audience an impressive experience. secondly, the technique of montage and long take both have play a strong role in The Dead End (2015) which are representatives of the sort of tendencies in contemporary Chinese cinema that I am describing.
I will use the beginning of The Dead End (2015) as the main case to concentrate on the application of montage because this film is a typical representative which can show the montage practice of Chinese film. Although the four-minute from the beginning pictures are all montage applications, the types of these montages are different. I divide the four minutes into three different montage parts and will analyze them specifically. There are three main montages applied in the first four-minute, sound montage, editing montage and the hue style of montage. Meanwhile, the montage through all the four minutes in different aspects, it involves the transformation of takes, the connection of takes, sound, and speed of takes. These different practices of montage applied in some takes at the same time. Moreover, we can find that the starting four minutes (from the 1’43s to 5’53s) presents the background of the storyline and leave much suspense to attract audience keeping watch this film. The director used these montages at the beginning to take audiences into the direction of the plot set by the director, although the truth of ending is an inversion and has shocked many audiences. The purpose of the director is achieved to a large extent by means of these montages. Finally,