Crystal MA 3d Computer Animation

Story arcs

Story circle

1 . character in comfort zone

Five emotions live in the “brain control room” of Riley, a Minnesota girl who has a happy childhood under joy’s control.

2 . want and desire something

Joy hopes sadness doesn’t always make the girl sad. She wants sadness to stay in the corner safely, so that the girl’s memory ball will not have many blue sad memories.

3 . enter a strange situation

To make sure Riley is happy on the first day of school, joy orders sadness to stand in a circle and not meddle in anything on the console. But sadness somehow touched a core memory ball, causing Riley to cry and produce the first ever blue core memory ball, and joy tried to stop sadness. After a flurry of confusion, joy, sadness and core memory balls were all used to transport tubes from the brain control room to the long-term memory area.

4 . adapt to it

Joy and sadness met Bing Bong in the long-term memory area, and they wanted help. At this time, there was a contradiction. They got along for a long time. Although joy didn’t like sadness, they had to work together to return to the main control room.

5 . get what they want

The train fell to the bottom and they were back in the long-term memory again. Joy and Bing Bong fall into the oblivion zone. They are facing death (completely forgotten), and they are “nothing”; the “night of the soul” is when joy begins to cry and feels that he is really finished.

6 . heavy price to pay

When joy was crying, she picked up a core memory ball. She was surprised to find that Riley, who had lost the game, was sad alone. At this time, her parents comforted her and her friends came to lift Riley high. Riley became happy again. Joy recalled that when Bing Bong lost his pain due to the small rocket, sadness comforted him and he immediately got the motivation. This is when joy realized! It turns out that sadness is another way to get happiness. Riley and Bing Bong are both comforted and inspired by Sadeness. So she got excited, found the little rocket in the forgotten area, and returned to the long-term memory area above with the help of Bing bong.

7 . go back to what they’re familiar with

Joy and sadness return to the brain headquarters. Sadness pulls the “escape” button from the festering console. Riley repents and quickly gets out of the car to go home.

8 . change

The characters in the control room got to know sadness again and admired her. She solved the problems that joy couldn’t solve. Everyone really accepted sadness. Joy is no longer biased and complaining about sadness, and gradually feels her importance. The console in the brain control room has been expanded, and we have a harmonious relationship.

Story curve

1. Opening image

At the beginning of the film, the audience will have a general understanding of the tone, mood and type of the film. Its main purpose is to hold the audience firmly in the chair. The opening scene of “the secret service of the mind” gives us a warm, loving story about growth and adventure. Each person’s behavior is controlled by five emotions in our mind: joy, sadness, fear, disgust, and anger. These five emotions help us create “core memories” and enrich and create our different personalities. In this film, these five emotions live in the “brain control room” of Riley, a little girl in Minnesota. Under joy’s control, Riley has a happy childhood.

2. Theme stated

At the beginning of the film, with joy’s voice over, we learn about Riley’s life and how her various emotions are embodied in her life. “Disgust” broccoli, “fear” will hurt their own wires, “angry” Dad forced himself to eat But what joy doesn’t understand most is that sadness exists. Why does she always make Riley cry? Shouldn’t such a lovely little girl have a carefree childhood? At the same time, we can see that joy is a very good problem solver. When Riley encounters any situation, she always tries to make Riley happy. After all, she loves her little girl too much. I think the theme of the film appears here. Some people think that the theme of the film is “love can save everything”. Yes, this is indeed the surface theme of the film. But in fact, the writer tells a story about “accept”.

3. Set up

Just before the opening subtitle of this film. These parts let us fully understand the characters in the story, and also see the goal of the protagonist. In particular, the protagonist of the film is not Riley. Although this is the emotional story in her brain, the central character is joy. Joy’s words and deeds drive the story forward, and her ultimate goal is to solve all problems and make Riley happy.

4. Catalyst

It’s easy to understand that everything is going to change! There is a very obvious hint in this film. In the seventh minute, joy said, “things could’t be better! After all, Riley is 11 now, what could happen? And then it cuts to the scene that they’ve sold the house, and the Riley family are moving to San Francisco. Moving is an unknown, new thing for everyone.

5. Debate

On this point, for the first time, we started a debate, but the core of this part is “how to solve the current problems most directly through debate”. People don’t like the new home! The furniture had not come, only sleep on the floor; dad’s business seemed to have some problems, he could not accompany himself; there were dead rats in the house. Riley’s not happy! In this case, the protagonist joy tries to make Riley and his friends happy. She prompts Riley to play “paper hockey” with his parents, eat his favorite pizza with his mother, and do his best “armrest sliding” games When introducing myself on the first day of the new school, Riley tried to remind Riley of his happy past through the core memory ball and shared it with new students and new teachers. Everything seems to be settled easily.

6. Break into two

It needs to be made clear here that this “point” is very specific. It is a matter, in my opinion, or the “result” in the causal relationship. Because of this result, the protagonist breaks away from the previous world and goes to a new world. In this film, joy orders sadness to stand in a circle and not meddle in anything on the console to make sure Riley is happy on the first day of school. But sadness somehow touched a core memory ball, causing Riley to cry and produce the first ever blue core memory request (blue for sadness), and joy tried to stop sadness. After a flurry of confusion, joy, sadness and core memory balls were all used to transport tubes from the brain control room to the long-term memory area. At this moment, at this point, which is the “result” in the causal relationship I just mentioned, Act 1 turns to act 2.

7. B story

In the complex multi line story, this is easier to understand, which is the branch plot. We see the protagonist’s story to see almost, now want to see other, a related to the main line, but also a new character. Bing Bong！ He was Riley’s imaginary friend when he was a kid, and he had a lot of fun with Riley and their little rockets. But as Riley grew up, she hadn’t thought of Bing Bong for a long time. Joy and sadness met Bing Bong in the long-term memory area. They wanted help and promised to remind Riley of Bing Bong again.

8. Fun and game

This place should be the most interesting part of the film, but also the part with more space. Embodied in this film is the adventure story of joy, sadness and Bing Bong in the new world. Their goal is to catch the “train of thought” and return to the “brain control room”. They cross the “abstract thinking area” and “the land of imagination”. There is a foreshadowing point here. Bing Bong wept bitterly when he found out that his “small rocket” had been thrown into the forgotten area. Sadness went to comfort him, and Bing Bong finally regained his courage and led everyone to continue to chase the train.

9. Midpoint

In my opinion, I think it’s when they successfully use clowns to create nightmares in DreamWorks to wake Riley, restart the train of thought, and set off again. Their point on the train was a bit like a “false victory.” they thought they had finally succeeded, but then the train road was smashed, the train fell to the bottom, and they went back to the long-term memory again. At the same time, as I said, it’s a combination of a series of small actions, starting with waking up the clowns, starting with their intention to create nightmares. From this point, it’s all back to the origin.

10. Bad guys close in

The bad buy here is not, to some extent, the villain in in the film, but everything that prevents the protagonist from succeeding. Riley is awakened by the nightmare, and fear, strange, and anger in the control room are back to work. Anger can’t stand such a life any longer. By default, he inserts the “escape” button into Riley’s brain, which makes Riley have the idea of running away from home, and makes her steal her mother’s credit card and buy a ticket. This behavior directly led to the collapse of “honest island” in Riley’s five main personalities, breaking the way of thinking train. This is the meaning of “bad people approaching”, which has caused great setbacks. Who do you think is the villain in the film? Is it sadness who’s always in trouble? Or angel, who just did something bad? It’s not The real villain is change. It is the impermanent “change” that none of them expected.

11. All in lost

12. Dark night of soul

Putting these two points together is because the two points are closely linked in many moments, and their appearance is very similar. However, “nothing” is more like the result of behavior. They seem to have lost everything and “smell the smell of death”; and “soul night” is spiritual, that is, the protagonist completely feels himself at that moment finished. In this film, joy and Bing Bong fall into the forgetting zone, facing death (being completely forgotten), and they are “nothing”; the “soul night” is when joy starts to cry and feels that he is really finished.

13. Break into three

In fact, the turning point of the third act is also very close to the night of the soul. When the protagonist’s mental state is completely collapsed, ah, things have changed and new solutions to the difficulties have been found! In the movie, joy picks up a core memory ball when she is crying. She is surprised to find that Riley, who lost the game, is sad alone. At this time, her parents comforted her and her friends came to lift Riley high. Riley became happy again. Joy recalled that when Bing Bong lost his pain due to the small rocket, sadness comforted him and he immediately got the motivation. This is when joy realized! It turns out that sadness is another way to get happiness. Riley and Bing Bong are both comforted and inspired by Sadness. So she got excited, found the little rocket in the forgotten area, and returned to the long-term memory area above with the help of Bing bong. At this point, it turns to act three, the ending.

14. Final

The end doesn’t mean the end. Finally, joy and sandness return to the brain headquarters. Sadness pulls the “escape” button from the rotten console. Riley repents and quickly gets out of the car to go home. At home, Riley wept and confessed to her parents about her mistakes and confessed why she had been so moody recently, that is, she didn’t like and didn’t adapt to the new environment and new life. Mom and dad didn’t blame her. On the contrary, the family was frank with each other and hugged each other. Riley laughed happily. On the other hand, people in the control room got to know sadness again and admired her. She solved the problems that joy couldn’t solve, and they really accepted sadness. Here, the theme is pointed out very thoroughly. On the road of growth, we should learn to face ourselves honestly and learn to accept others. Learn to accept differences and respect each difference. This part is also the climax of the film, a happy ending.

15. Ending

The ending picture and the opening picture must be different, which means it must correspond to the change. At the end of the day, Riley added many personality islands; more and more core memory balls are colorful, that is, a variety of emotions constitute the core memory; the console of brain control room has been expanded, and everyone has a harmonious relationship; at the same time, Riley is 12 years old, officially entering adolescence, and everyone will face new challenges.

Character Joy & Sadness Timeline

Joy is in charge of the girl’s control room. She doesn’t understand why sadness always makes girls unhappy.

To make sure Riley is happy on the first day of school, joy orders sadness to stand in a circle and not meddle in anything on the console.

But sadness somehow touched a core memory ball, causing Riley to cry and produce the first ever blue core memory request (blue for sadness).

Joy tried to stop sadness. After a flurry of confusion, joy, sadness and core memory balls were all used to transport tubes from the brain control room to the long-term memory area.

Joy blamed sadness.

Joy and sadness met Bing Bong in the long-term memory area, hoping for help and promising to remind Riley of Bing Bong again.

Joy, sadness and Bing Bong’s Adventures in the new world. Their goal is to catch the “train of thought” and return to the “brain control room”.

Joy and Bing Bong fall into the oblivion zone, where they are faced with death, when they have nothing; the “night of the soul” is when joy begins to cry and feels that he is really finished.

Joy recalled that when Bing Bong lost his pain due to the small rocket, sadness comforted him and he immediately got the motivation. This is when joy realized! It turns out that sadness is another way to get happiness. Riley and Bing Bong are both comforted and inspired by Sadeness.

Joy and sadness return to the brain headquarters, and sadness pulls the escape button from the festering console.

Character Archetypes

Inside the headquarters, there are five people responsible for controlling Riley’s main emotions: Joy, Sadness, Fear , Disgust, and Anger . Because these five emotions are completely different from each other, their images also have a huge contrast. The use of distinct colors in the film’s emotional design of five different roles in daily life. The main color of Joy is golden yellow, dazzling and pleasing to the eyes; worry is dark blue, which can not be forgotten; fear is lavender, he always keeps vigilance; weariness is green, which is consistent with the color of broccoli that Lily dislikes most; anger is red, who loves to get angry when meeting things, and even can jump up a flame on his head. Through the appearance of the characters, the audience can clearly understand the character characteristics of the characters.

Joy (Yellow)

Joy is the first emotional character born in the brain with Riley when she was born. Joy is a bright yellow little man. Yellow gives people warm Association and satisfaction, newborn sun, golden wheat wave and so on. Bright yellow can stimulate people’s brain ability, can treat depression, help people wake up enthusiasm for life, activate people’s confidence and optimism. Joy’s task is to keep Riley in a good mood. She is always carefree, optimistic and cheerful, looking for joy all the time. Joy regards every challenge Riley faces as a new opportunity, and those unhappy moments are just small episodes before happiness comes. Lily’s happiness is the joy of Joy.

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Sadness (Blue)

The opposite of Joy is blue Sadness. Blue contains depression and melancholy, which can play a calming role. It can awaken concentration and intuition, and eliminate some compulsive thoughts. However, excessive consumption will lead to depression, and there is a feeling of isolation, sadness and loss from others. No emotional villain knows what the role of Sadness is. Sadness wants to be optimistic and make Riley happy, but she finds it hard to maintain a positive mood. Sometimes she thinks the best thing is to lie on the floor and have a good cry.

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Anger (Red)

Anger is red. Red represents strong vitality and will. Red can often raise the temperature. Too much red can lead to excessive stimulation and irritability. Anger is always active in fighting for a fair deal for Riley. He has a bad temper and is ready to get angry when things don’t work out. He’s an acute man who can’t stand an imperfect life.

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Disgust (Green)

Green is the color of nature, which symbolizes peace. In Islam, it symbolizes nobility and holiness. Therefore, the Disgust of green is critical to things. Tired, stubborn and honest, she protected Riley from poison – both physically and mentally. She is cautious about what Riley comes into contact with and where she has been, whether it’s broccoli or last year’s fashion trend. The starting point of weariness is good, she just doesn’t want to lower her standard.

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Fear (Purple)

Purple is an excellent color for fear. People who like purple are easy to be sentimental, sensitive and neurotic, so the Fear in the film has always been the image of fear. The main task of fear is to keep Riley safe. He always pays attention to the external environment and evaluates the potential threats around Riley. In the view of Fear, there are traps in life everywhere, and we should be vigilant every minute.

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Bing bong (Pink)

In addition to five kinds of emotional villains, there is also a pink playmate “Bing bong”, which represents Lily’s childlike interest. Pink is full of sweet color and has the effect of relaxing. “Bing bong” gives people a warm power, and uses his words to prove the expression of her emotions. This is Riley’s imaginary good friend. His body is mostly marshmallow. He looks like an elephant, but he has the tail of a cat and the sound of a dolphin. He was very timid and afraid of strange things, so when Joy and Sadness appeared in front of him, Bing bong ran away immediately. Bing bong is now more lost, because lily has slowly forgotten this childhood fantasy friend. And his dream is to go to the moon with a broomstick. Bing bong have been helping as Joy and Sadness try to get back to brain headquarters. When Joy and Bing bong fall into the memory dump, Bing bong abandon themselves and help Joy reach the platform above the dump. Bing bong is the concentrated embodiment of the staff in Riley’s brain. It is their selfless dedication that makes her grow up healthily.

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The main story arcs

Story Circle

1. character in comfort zone
2. want and desire something
3. enter a strange situation
4. adapt to it
5. get what they want
6. heavy price to pay
7. go back to what they’re familiar with
8. change

Jokes are structured: beginning → middle → end (laughter)
The joke is funny mainly because of its structure. The structure solves two problems in creation：What information do you want the audience to know? and when?

Structure is important not only for successful jokes, but also for moving movies.
For example, the early version of “Finding Nemo” is actually quite different from the structure of the final film. The director originally wanted to put the two people’s world life of NiMo’s parents as flashbacks in the whole movie. They meet and fall in love and finally move into the house on the steep slope. These small fragments run through the film. But marlin and Nemo’s main line adventure story is basically consistent with the final film. But in this inverted version of the story structure, it’s not until the end that Marlin’s wife, coral, and her eggs were killed by a pike.When the project team played the film in this order, there was a problem that the audience would not like the role of marlin.Re-examining the structure of the story, we find that in this version of the story, the audience has to wait until the end of the film to understand why Marlin over protected his son.

After the adjustment of the story structure, the audience’s view and attitude towards Marlin have been greatly changed, because the audience knew from the beginning of the film that Marlin had lost his love and how brave he was to find Nemo. So they decided to go back to editing and get rid of most of the memories, leaving only the Barracuda attacking the coral eggs being eaten and leaving only Nemo, all of which were edited to the beginning of the film.

Story Curve

The narrative arc (also called the “story arc”) refers to the structure and shape of a story. This arc is made up of the events in your story — the sequence of occurrences in the plot — and determines the peaks and plateaus that set the pace. The narrative arc is a graphical representation of the organizational structure of events or stories in narrative texts. It is more intuitive to use narrative arcs to express the nature of events. In the narrative arc, the horizontal axis represents the time of the story, and the vertical axis represents the development and change of the story.

For a complete story, the narrative arc can be divided into five stages to show the development and change of the story. The first stage is elaboration or background. The author should tell the readers who is the protagonist of the story, introduce the background of the story, and make an account of the impending difficulties. The second stage is the rising stage, that is, the unfolding of the story. It can weave the protagonist’s efforts to achieve the goal, the protagonist’s confusion, forbearance and persistence in the process, and the foreshadowing suspense before the crisis, which are the process of the characters falling into difficulties and deepening layers by layers, and the accumulation process of the characters’ action and emotional strength. The third stage is crisis, which is the peak of the narrative arc and the action or decision taken by the characters in the face of severe difficulties. The fourth stage is the climax, in which the characters will take action on the crisis, and the climax is a series of events in which the characters solve the crisis. The fifth stage is the descent action / ending, and the story slows down to the end.

Finding NEMO

1. There is a fish named Marlin who cherishes his son very much. Marlin did her best to protect Nemo, and she lived a peaceful life for many years.

2. Because Marlin thinks that the sea is full of danger, so he does not let Nemo leave himself, but Nemo yearns for the outside world.

3. Until one day, Nemo was taken away by a deep-water diver.

4. Marlin wants to leave the safe Great Barrier Reef home and set out to look for his son. He is very tangled in the process. He is afraid but more worried about his son.

5. Marlin encountered sharks, jellyfish and all kinds of dangers on the way.

6. Marlin had to pluck up her courage and fight bravely

7. Finally, Marlin learns to let go of her fear and trust Nemo to rescue dolly from her fishing net.

8. From then on, Marlin gave Nemo enough space to grow independently

Moral: parents need to learn to let go in order to let their children grow up

A story can revolve around a character’s struggle with individual demons. A term related to “story arc” is “character arc”, which describes the change and growth of a particular character in one or more stories. An innocent character may become more worldly and experienced. For example, an evil character may change his mind. Even a short story like a sitcom can have multiple arcs of stories or characters. A common example is that adult characters in a sitcom family participate in one story arc, while children participate in another.

Theme

“Structure” is composed of a series of plot key points, which is an important first step. But in the process of creating stories, we will also step back and think about “what on earth connects all the events in the story?” Therefore, we often ask a simple question: what do you want to express?

We hope to find out the theme of the story through this question. The theme is related to the moral meaning, which is the life lesson learned by the protagonist at the end of the story.
When the audience finished watching your film, a month later they mentioned to their friends, “Oh, I love this movie, it tells…”. What do you want this “…” to be?

Before you start to create a story, you must be clear about the protagonist’s goal, which is what they want. Therefore, the protagonist is pursuing what they want. However, they often find that what they want is not the real need, but their needs are more important. The real needs of the protagonist are generally the theme of the film.

Once you’ve identified the theme, the message you want to convey, you can create a series of dramatic events and tests that push your protagonist to realize that he or she needs to change and to understand what the movie’s theme says.

Up

The most prominent feature of the film is the romantic life of Carl and Allie, who jointly establish their new home. They climb the hillside together, make an appointment to watch the waterfall in South America, and sit at home reading and talking with each other. The whole film let us see the romantic color of their love. The audience saw the true feelings, revealing Carl’s true love for Allie, and also saw that the real love is mutual attraction and mutual trust. Therefore, it is worthy of love to support and accompany each other for a lifetime, which is the crystallization of love embodied in the film.

Secondly, the common topic of Carl and Russell is to fulfill their dreams, pursue what they want, and not leave regrets for themselves. In the film, his wife dies and Carl’s house is to be demolished. Carl is reluctant to leave the house with his wife’s good memories. Therefore, Carl flies the house to the waterfall with a balloon to realize their dream. In the flying house, unexpectedly, a lively, playful, mischievous little fat Russell, who claims to be an explorer, gets along with each other and reaches a consensus to challenge the waterfall in South America. In the adventure, he became good friends with animals and met with unscrupulous Explorer Charlemagne. Finally, Carl completed his dream of his wife. Russell also realized his dream of bringing medals to himself by his father. The ending was perfect.

The film highlights Kevin’s kindness before, which can also drive the friends around him, and also symbolizes the truth, goodness and beauty of the film. At the same time, this picture has become a positive energy in real life, and has become the eye of the audience; therefore, the real pursuit of truth, goodness and beauty can also realize the meaning and value of one’s own life. It shows the emotional changes of the characters in different periods, makes the characters more rich and full, and gives the audience a strong attraction.

How to make a good story

For a character, you should praise his perseverance, not his success.

Always remember to talk about things that interest you as an audience, not as a writer. There is a big difference between the two.

Try a theme boldly, but you can’t see what the story really says until the end of the story. This is the time to rewrite it.

A long time ago, there was one__ , every day__ One day__ Because of that__ Because of that__ At last In a specific time and space, a specific person, a normal life, is suddenly broken by some factors, and a series of causal events are produced, leading to some final result.

Simplify, focus, merge characters, cut corners and straighten. You’ll feel like you’ve lost a lot of valuable things, but it’ll let you go. ” Life or material is complex, if you directly to copy, there is no way to start. If you refine, simplify, eliminate the false and retain the true, remove the rough and extract the essence, summarize and summarize, you will feel much clearer and help you to create smoothly.

What are your characters good at? What do you like? Throw them the opposite thing and test them. How do they deal with it? Heroes are set off by crisis, goodness is tortured by evil, steel is forged by fire, chronic and acute are shown by contrast.

Think about the end of the story before you come up with the middle of the story. It’s important, the ending is usually difficult, think ahead. Explain that the story is conceived backwards. First think about the end, then the middle, and then the beginning. This is not only because the ending is the most difficult, but also because the ending represents the climax, represents the theme, and represents whether the story has weight and value. Even, the ending is the direction of the story!

Let your characters have their own ideas. It will not easily let you drive and command, it has independent will and characteristics, you have to do your best to conquer it, this is a good script!

Why do you have to tell this story? What is the story that makes this belief burn in your heart? This is the core. To write a work, one must be in a state where one has to write. To find the reason why we have to write is the reason why the audience has to see it.

If you were your character, what would you think in this situation? Honesty can bring credibility to incredible situations. We often use one word: authentic. In fact, these are two concepts! In art works, the reality is virtual, which is not important. What matters is credibility. Many unreal (such as supernatural, science fiction, etc.) we still feel believable and moved. The best way to deal with credibility is to assume that I am him!

No work is in vain. If you can’t, give up and think about something else – they’ll come back and be useful one day. The materials, ideas, solutions, wonderful dialogues, props, fantastic ideas, etc. you have considered in your writing sometimes find that they can not be used. They are very reluctant to use them. It’s a pity to discard the negation. In fact, they should be given up if they are not suitable. It doesn’t mean waste. Even mistakes contribute to success.
Let your character happen to be in trouble. But it’s not letting your character happen to solve the problem. It’s cheating.

Temper: find the parts of your movie that you don’t like. How to rearrange them to your satisfaction?

Incorporate your stories and characters, not just cool stuff. What makes you do what you do in a movie?

What is the nature of your story? Can it be described in the most concise way? If you can do that, you can build on that. One sentence story synopsis, the core story model, character setting and theme are summarized.

Character Design

Shape and personality

On the one hand, they are external characteristics, that is, their design, dress, appearance. What’s more interesting is their intrinsic characteristics. Are they insecure? brave? Or jealous? Role creation must come from real human emotion and experience. But you don’t have to take yourself as the prototype. You can also refer to the people around you and your daily life.

Desire

It’s important to know what your character wants because it will affect the content of the story. If you don’t know what they wanted in the first place, the adventure is aimless, but it’s the story. “Want” drives the role to act. In order to satisfy his own desire, the character will go all out to put it into action. “Need” refers to what we must do or learn in the process of growing up or pursuing success.

For example, HOUDY of Toy Story wants to be Andy’s favorite toy and always will be. But what he needs is to learn to share, to share friendship, and to understand the truth of “friendship first, competition second”. Sometimes, the character wants something at the beginning of the story, but he knows what he needs during the journey.

For example, Sally (monster power), he wants to rise in the company, just like everyone wants – promotion and pay rise, to be the elite in his industry. But we got in the way and joined the role of Abu (little girl) to disrupt his plan. This is something he doesn’t want to manage. But because the little girl depends on him, it goes against his goal. If he is found by the company that he has taken in human children, his promotion plan will be blocked and his future will be ruined. So the career he wants and the things he needs to take care of right now are going to destroy each other. But he gradually cared more about abdo’s future, and his heart became soft. In fact, he did not care about his career at all. He chose the needs of his life – the fetters of another man, and he wanted Abu to stay in his life.

Obstacles

The core of a story is not only about the desires and needs of the protagonists, but also their obstacles and the conflict points of the story.

Marlin’s obstacle is his fear of the sea. He often tells you that you should stay in the reef and it’s safe here. However, in order to find Nemo, Marlin has to break her own comfort zone. Since then, all the obstacles we have set up are to force marlin out of the comfort zone, finally reunite with her son and learn to trust his son.

Character Arc

In fact, in many movies or stories , at the beginning of the story, the characters appear in their embryonic form and are still in a state of need of improvement. At the end of the story, these characters will be upgraded to higher versions of themselves and become better. If not for the challenge, they may not have such a change. This pressure forces them to become better selves Self. Without obstacles, the character’s experience is a horizontal line. When obstacles arise, the experience develops into an arc. At this point, the character can complete a metamorphosis. So if there are no obstacles, I don’t think the arc of character development will exist.

Types

Iconic
This type of character is polar. Most of them are cute ones with big eyes and even no nose. Many of them are mascots for public welfare or business promotion.

Simple type
It is a little more complicated than the logo logo above, but it also takes a simple programmed circuit, which is very suitable for flash promotion, and is also convenient for expansion and application in newspaper comics, network and TV.

Common type
The most common type of role. Focusing on animation or cartoon style, it can have more rich expression changes than the previous types, which is suitable for exaggerated and humorous media such as animation and cartoon.

Complex type
Although it seems to have exaggeration and cartoon appearance, the proportion and expression of single character are more realistic. This type of character can be seen in Disney or other high-end animated films, because they are more likely to resonate with the audience than simple cartoon characters.

Real type
The most realistic type of character modeling is often seen in Hollywood special effects movies and HD games. His goal is to pursue the reality, and shock the audience and players with super realism.

Hero characters

• Simba (The Lion King)
• Merida (Brave)
• Pocahontas (Pocahontas)
• Judy Hopps (Zootopia)
• Woody (Toy Story)
• Ariel (The Little Mermaid)
• Anna (Frozen)
• Ralph (Wreck-It Ralph)
• Rapenzel(Tangled)
• Mulan (Mulan)

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Villain characters

• Scar (The Lion King)
• Maleficent (Sleeping Beauty)
• Ursula (The Little Mermaid)
• Cruella de Vil (101 Dalmatians)
• Jafar (Aladdin)
• Gaston (Beauty and Beast)
• The Evil Queen (Snow White and the Seven Dwarfs)
• Hades (Hercules)
• Evil stepmother (Cinderella)
• Queen of hearts (Alice in Wonderland)

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Three act drama structure

The first part of the story consists of three parts

• Once upon a time
• Every day
• Until one day

Once upon a time
In this section, the audience meets the main character of the story, the “protagonist”, and learns when and where the story takes place. For example, in “Finding Nemo”, the audience learned at the beginning that marlin and Nemo live on the safe Great Barrier Reef, and understand why marlin is always worried about the dangers of the sea. Through the first act, the audience can also know what kind of film it is, whether it is a science fiction film, a romantic comedy, a historical drama film, or something else.

Every day
In this section, the audience will learn more about the world in the story, and continue to take “Finding Nemo” as an example. The audience will get to know other residents of the Great Barrier Reef Waters and their daily life.

Until one day
This episode is often referred to as the “inciting incident.” this event will lead to major obstacles, force the protagonist to face it, and promote the whole story. Nemori’s father was forced to open the sea to save the water.
The first act can also lead to “adversary”. When the opponent is a certain character, it is known as “villain”. But the opponent also has many forms. Generally speaking, the opponent is the resistance that hinders the protagonist from realizing his wants and needs. Marlin’s opponents are things that hinder her progress, that is, the ocean and Marlin’s fear of it.
It’s crucial to sort out the first act, so listen to Pixar’s creators.

In the first act, you’ve given the audience what they need to know, and you’ve laid down a challenge for the character’s adventure. Now the characters are going to set out to achieve their goals. Now let’s take a look at the second act of “story skeleton.”.
In the second act, the protagonists usually fall into a complicated dilemma. The obstacles in front of them force them to make difficult decisions, because what happens on the road (i.e. the journey) is linked to each other. The main point of the second act is to make decisions and take actions to overcome the obstacles.

In the second act, you need to crack down on the protagonist. You can’t make the protagonist feel better. Otherwise, there will be no conflict in the story. The story will not develop without conflict and lose the rhythm and motivation to move forward. So you have to constantly throw out problems, let the protagonist learn from it, overcome many obstacles, in fact, in order to let them grow step by step. So the second act witnessed most of the growth of the protagonist.

By the end of the second act, the protagonist will be in a terrible predicament, forcing them to face up to the problems that emerge at the end of the first act. This is the significance of the second act. In the third act, the protagonist’s coping style will be displayed, so that both the audience and the protagonist will realize that this is a real change. The “second act” usually starts immediately after the “incentive event”. Finally, there will be a series of obstacles that the protagonist must overcome to get close to the target. To the point of the second act, in the middle of the whole story, the protagonist often has to make a choice which we sometimes call “point of no return.”There may also be a “nadir” in the second act, which usually marks the end of the second act

In the third act, the story will be full speed into the final crisis (crsis), that is, the inevitable climax. This is the most tense moment for the protagonist in the film, because they are going to lose everything they care about most. At this time, the audience should be nervous together. In the first and second acts, the protagonist is driven to make a choice, but now he will face the final test. After the climax of the story, the characters and the world will return to tranquility and may become more perfect, which we call resolution.

In the third act, the protagonists abandon the need to be successful. They are aware of their problems, and now is the time to show change. You should put the protagonist through multiple tests, and then let the audience see that the protagonist really learned something, something that reflected the theme of the story, that is, why you decided to create the story in the first place. In the third act, the problems in the film should be solved. Sometimes the ending will be unexpected but satisfying.

Equilibrium and linear story

1 . Linear narrative

Linear narrative is a classical narrative means, which pays attention to the integrity of the story, the unity of time and space, the causality of the plot and the coherence of narration, which is easy to be accepted by the audience. The existence of flashback is to better serve the linear narrative. It can also be regarded as linear narration if only multi line advancement is adopted for the sake of the tension of the plot.

From the perspective of clues, linear narrative can be divided into linear single line and linear double line.
Linear single line: a single and uninterrupted narrative. Such as 12 angry men, godfather 1, Shawshank’s redemption
Linear double line: it has long existed in Chinese traditional Chapter style novels — “two flowers bloom, each represents a branch”; in film, there is a double clue Godfather 2

2. Non linear narration

（1） The definition and overview of non-linear narrative

Since the 1990s, nonlinear narrative structure has been popular in commercial films. The so-called deconstruction belongs to the deconstruction of the so-called non-linear, that is, the deconstruction of the narrative style. In the postmodern performance, the director deliberately disrupts the time or space order of the story, reorganizes the events, and expresses it to the audience in a non-linear narrative way, highlighting and clarifying the theme

In short, nonlinear narrative abandons the coherence of time and space. Will be linear, people and things that happen. It is rearranged by montage. This not only reconstructs the concept of time and space of film. At the same time, it also increases the difficulty for the audience to understand the plot

（2） Classification of non-linear narration

A three act structure different from the traditional film or drama. According to research, there are several types of non-linear narration at present

Non single clue structure: usually a clue line runs through the film. Multiple clues break this pattern. It can be divided into parallel multiple clues and cross multiple clues

Non linear time structure: the traditional concept of drama. Film and drama should have ups and downs. It has a complete time line chain. The order and irreversibility of modern commercial films have been subverted. The well-known annular structure (head and tail closed) fragment structure. (regrouping after crushing)

Nonlinear spatial structure: linear films tend to shift the space of the lens according to the causal logic. However, nonlinearity ignores the internal logic of space-time transformation by blurring reality and virtuality. So as to diversify the architecture space.

The sequence of Nolan’s works is basically included in crime films and science fiction. The early films follow (1998), memory fragments (2000) and white night pursuit (2002) all focus on crime and human nature. Later, he developed in Hollywood and launched a series of well-known and popular commercial blockbusters: the mystery of Batman’s shadow (2005), the fatal magic (2006), the Dark Knight (2008), inception (2010), the rise of the Black Knight (2012), Star Trek (2014) and Dunkirk (2017). Since 2005, most of Nolan’s films are science fiction films There are changes in the type, but the core of the film is to retain Nolan’s original tendency of creation — the cause of criminal behavior and the thinking of social humanity. Nolan is good at building a story environment and putting the ever-changing characters into it. But all films are always exploring a proposition, which is especially obvious in crime films, that is, the game between people. This theme runs through the whole creative career of Nolan. Game is a thinking activity that integrates wisdom, means and challenges. There are many situations in social life that are faced with game. There are both commercial behavior and political position. The game method that is more suitable for showing on the screen is criminal behavior. Crime films can open up a wide space for game, while science fiction films are the re creation of story environment and story elements.

Timetable and Background

Timetable

In fact, the study of narrative time includes three aspects: the choice of time, the arrangement of time sequence and the deformation of time.

1 . Time choice: the infinite possibility of the real world and the infinite possibility of the development of the film story force the narrator to arrange the time. In the limited time, the narrator can not narrate all the infinite story time, so the choice becomes the first problem in the narrator’s handling time.
The narrator’s choice of narrative time has two aspects: diachronic choice and synchronic choice. Time, in fact, is always associated with the activities of the characters in the film.

2 . Arrangement of time sequence: because story time is multidimensional, but narrative can only be one-dimensional, so how to narrate multidimensional, entangled and synchronic events in a sequential way is the problem to be studied in time sequence. The processing methods of time sequence are: sequence, flashback, interlude and so on.

1) . Preface
The most common timing in movies. The sequence of events in the narrative is the same as that in the story. Narration is one of the most commonly used plot films. It strictly follows the natural flow of time and shows events in the original sequence of story time. In order to emphasize the narration, some films even use subtitles to highlight the order of time.

2) . wrong time
When it comes to time reversal, I think there are mainly two kinds of inversion, flashback and flashback. Flashback refers to a narrative time arrangement method in which the narrator narrates the reason or the whole story after narrating the result or key plot of the story. The part of flashback is generally complete and systematic, and the duration may be longer. Compared with flashback, flashback is more short-lived in terms of time, and the causal connection between the top and bottom of the plot may be less logical, but it emphasizes the inner emotional relationship or style similarity between the upper and lower.

3) Interlocutory phrase
There is a temporal or logical relationship between the flashback or flashback paragraph and the central event, but there is no time or causal relationship between the event described in the interlude phrase and the central event. The more important thing for the narrator to expand the meaning of the film is to expand the meaning of the film. Although the inserted lens is attached to the central event, the entry of the narrative phrase is obviously not for the story’s emotion Therefore, this kind of interlude is also called signifying interlude phrase.

3 . The possibility of speed is divided into four categories: pause, scene, outline and ellipsis.
In the analysis of film narrative, the narrative speed can be divided into three ways: the expansion of time, the omission of time and the recovery of time.

1) The expansion of time
It refers to the situation that the narrative time is greater than the story time. For special aesthetic purposes, the narrator deliberately prolongs the time in narration, which makes the narrative time far exceed the time required for the story. At this time, time is inflated. The narrator is often inflated by the change of lens speed and lens angle in the film. High speed photography is a common means in the film.

2) The omission of time
Of course, it refers to the situation that the narrative time is less than the story time. Because of the infinite possibility of story time and the limitation of narrative time, the omission of narrator is inevitable. “Cut” is the most common ellipsis technique in movies. It has become a common sense means to jump time by cutting. Before the 1950s, the common methods of omission or time transition included “melting”, “fading in” and “fading out”.

3) Recovery of time
It refers to the one-to-one correspondence between narrative time and story time in narration. As a medium, because of its closeness to reality, the receiver sometimes feels that the story is spontaneous in the film, and the narrator does not exist. Time follows its own flow, and no one is influencing it or controlling it.

Background

In fact, it refers to the depth of the scene, the depth of the scene and the composition of the film. The narrator should control the content of the picture in a sense. The space of modern film is more unrealistic and creative.

Mise-en-scence

Film “mise-en-scence” is subdivided into cast scheduling, camera scheduling and film scene scheduling.

Cast scheduling

• Lateral scheduling: the actor moves horizontally from the left or right side of the shot.
• Forward or backward scheduling: the actor moves forward or backward to the camera.
• Oblique scheduling: the actor moves forward or backward to the oblique angle of the lens.
• Up or down scheduling: the actor moves in the opposite direction from the top or bottom of the screen.
• Oblique up or down scheduling: the actor moves up or down in the oblique direction of the camera screen.
• Circular scheduling: the actor makes a circular motion in front of the lens or around the lens position.
• Amorphous scheduling: Actors move freely in front of the camera.

The director chooses the actor scheduling form not only to keep the spatial relationship between the actor and his environment perfect in composition, but also to reflect the character’s character and follow the action logic of the character in a specific situation.

Camera scheduling

The motion forms of camera scheduling include push, pull, shake, follow, move, rise and fall. According to the lens position, there are front shot, back shot, side shot, etc.; according to the lens angle, there are flat shot, back shot, down shot, up and down shot and rotation shot. Generally speaking, a number of convergence lens, shot in the same form of motion, will give people a sense of fluency. Shooting from the angle of turning up and down, it will give people a strong sense of opposition.

Film scene scheduling

Film scene scheduling is an organic combination of actor scheduling and camera scheduling. The two scheduling complement each other and are based on the character behavior logic determined by the plot development, character character and character relationship. In order to make the shape of the film image have a stronger artistic appeal, the following three methods can be flexibly used to deal with the film scene scheduling from the needs of the plot: in depth scheduling, repetitive scheduling and comparative scheduling.

Examples

Slumdog Millionaire

In “Slumdog Millionaire”, the film starts with a close-up shot. The suspense tone is set from the beginning, and the lens is slowly panned. From the shoulder of the protagonist jema to his facial expression, there is an over shoulder shot. Gema is emphasized as the background, and his tense and uneasy expression is depicted in detail. A burst of smoke, the scene became blurred, the smoke dissipated, turned to the police close-up, arrogant and condescending look. From the color, this group of lens is mainly yellow, giving people the visual impression of expansion and restlessness. Interestingly, I find that when the camera is aimed at the protagonist jema, the yellow is more vivid and more pure, which gives people a mild, introverted and stable psychological feeling; when describing the trial police, the yellow is a little dark, I think the mixed dark yellow is the director’s hint of unbalanced rights.

Next, the screen displays the words and questions, and then switches to the scene of a pile of banknotes, and then shows the scene of the previous day’s answering scene, and then a close-up of a pair of banknotes. Then the dazzling white light brings the protagonist to the answering scene again. From the close-up lens of Gemma to the dynamic lens of spreading banknotes, the repeated content appears frequently but with different visual effects The rhythm and the beauty are not replaced by the miscellaneous rhythm.

In the two scenes of “Slumdog Millionaire”, the relationship between the characters is well shown by using multi angle shooting method, dim light and the position of the characters. At the same time, it plays a role in rendering the atmosphere of the scene. The film’s brother sherim at first saw that the heroine and his brother Gemma have a good relationship, and he joined the gang, so he let his brother leave him. He used the way of profiteering, from the first two people fighting together to the elder brother holding a gun at his brother, and the relationship between the two was deduced to the extreme.

The position of the characters in the film directly determines the relationship between the characters. The elder brother stands and plays an overwhelming role. The tone of the whole light in this play is dim, which effectively controls the appeal of the image. Although the style of the whole lighting is dim, the face of the characters adopts relatively bright lighting, which makes the expression details of the characters more clear and further attract the attention of the audience, thus enhancing the appeal of the scene atmosphere.

Visual Metaphor

The definition of metaphor in movies: the metaphor and symbol of image symbols is a process from concrete to abstract. It has the characteristic of “multiphase”. Through the interpretation of the image symbol beyond the concrete meaning, we can explore the deep meaning abstracted from the concrete image.

In film works, the elements of metaphor are diverse, including objects, rituals, sound, story scenes, etc. The use of metaphor can convey the theme implication implicitly and vividly.

Examples

1 . Zootopia

Zootopia explores the deep-seated conflicts between prejudice and race in contemporary society. For this idea, traditional films need complex story structure and character setting, as well as exquisite performance, in order to interpret, express and understand. And in this cartoon film suitable for all ages, the main creator constructs through metaphor.
With the exquisite world outlook and animal identity, the idea is expressed very smoothly and easily.

The surface theme of the film is Judy rabbit’s dream of becoming a police officer, which metaphors the struggle process of the contemporary small people; the deep main line is the distrust generated by the inherent nature of carnivores and herbivores, and the class confrontation caused by racial discrimination and inherent prejudice in contemporary society. Two levels of clues, corresponding to the audience of different ages and cultural basis, can interpret the corresponding story content. This universality, experience and directness are the unique narrative charm of animated films, and also the basic means to simplify and refine complex themes in animated films.

In zootopia, the growing process of rabbit and fox metaphors the conflict between the pure personal dream of human society and the defects of social culture. All visual elements serve the metaphorical theme, in which visual metaphor plays a guiding role.

Take Judy rabbit’s visual design as an example. Director bull is the plot obstacle for her to realize her dream. The visual effect design of this group of opponents can be regarded as classic from the perspective of visual metaphor in the whole film pattern.

First of all, in terms of visual size, the small personal dream and the large social prejudice form a very readable visual metaphor. Secondly, in order to deepen this prejudice and difficult artistic expression, all plots and scenes with Director are expressed in an oppressive and limited camera atmosphere. The typical scene is the scene where Judy expresses to the director that she wants to participate in the search work. The former scene is a bright and hopeful atmosphere, In the latter scene Judy is shrouded in a huge shadow. The contrast between loss and despair is vividly expressed in visual metaphor.

2 . Sheep Without a Shepherd

The sheep in the movie “kill by mistake” represents a lot of meanings, from scapegoat to redemption, and it is also the representative of a kind of social animal power. There are eight scenes of sheep in the film. Each appearance of sheep pushes the film to a climax. It is very meaningful and worth thinking. In addition, the English name of “kill by mistake” is “sheep without a shepherd”, and the theme song of the film is called “the lost sheep”, which echoes with the plot. The lyrics in the song are also clues of the film case, and the form is very novel.

The first appearance of the sheep was when Li Weijie was giving alms in the temple, and a sheep was followed by the monk. At this time, the sheep represented Li Weijie’s kindness and awe, and was a symbol of purity.

Sheep’s second appearance was when her daughter was invited to the warehouse by her classmates. At this time, the daughter’s heart was helpless and miserable. After being raped, he was also threatened by a video and asked to accept insult again. But there was no other way than obedience.

The third time the sheep appeared was when Li Weijie sank sucha’s car into the lake. At this time, a shepherd drove a group of sheep by. When the shepherd looked up, the car had sunk into the lake. Therefore, only this group of sheep witnessed all this, like a viewer, watching what Li Weijie had done, and also like Li Weijie’s own internal examination of himself.

Li Weijie and his family were suspected of being questioned by the police. Li Weijie had a dispute with the police. The police angrily pointed a gun at Li Weijie, and finally turned his anger to the sheep on the side of the road and shot and killed the sheep. The sheep here means for sin. Instead of Li Weijie, the sheep die, which paves the way for the great reversal.

The sheep here did not really appear. It was Li Weijie’s eldest daughter who was in school. The teacher was saying, “sheep have poor eyesight, they are easy to stray from the herd and are eaten by large animals.” The poor eyesight of the sheep shows that the only sheep who witnessed the crime of the male owner seems to be staring at all of this, but in fact, he did not see the process clearly. This also plays a certain role in suggesting that the people who testify to the male owner actually do not see the truth. Sheep are out of group and easy to be eaten by large animals. This shows that sheep need to be in groups to survive better With the help of these witnesses, things went smoothly.

The sixth time was when the police opened the coffin for autopsy, and the corpse in the coffin turned into the sheep that was killed by the police. The sheep here saved Li Weijie again and helped him escape successfully.

Seven times, Li Weijie was acquitted because he could not find any substantial evidence. After regaining his freedom, Li Weijie came to the temple again to give alms. At this time, a sheep passed by. This sheep represents the resurrection, but it is not the resurrection of man in essence, but the kindness of Li Weijie’s heart. Although Li Weijie was released, he knew that he was guilty, so Li Weijie chose to surrender himself.

Film Asthetics

Film aesthetics should be a kind of film theory, and it is a relatively advanced form in its theory. He focused on the study of film history, film theory, film specific text about beauty and how to produce beauty. It is a science about beauty and aesthetics in film art.

The research category of film aesthetics can be summarized as follows at least

1. The research object of film aesthetics is firstly the aesthetic characteristics of film, the aesthetic law of film art, especially the film language, film thinking, the assumption of transcending time and space in film art and the aesthetic form of film.
2. Film aesthetics should also focus on the cultural and philosophical thinking behind the film works and the aesthetic relationship between the audience and the film art.
3. In view of the fact that film aesthetics involves not only the film works and development history, but also the social ideological trend, ideological significance, philosophy and culture, and various technologies are closely related, it is necessary to distinguish the context in which the concept of film is used and what kind of text it is expressed.

Examples

1 . Shadow

In the film “shadow”, the use of ink and wash, Tai Chi, guqin and other elements will enable the audience to capture the subtle aura of Chinese style without consciously paying attention to these pictures and music. This is precisely because of the “original image” formed by these elements in Chinese culture for thousands of years.

Different from the famous murals and oil paintings in the west, Chinese traditional ink painting has a special charm. A piece of rice paper, a brush, water and ink, black and white, light and dark, thick and light, white and imagination, a kind of oriental charm originated from minimalism.Freehand brushwork is seldom reflected by color forms. Compared with other bright colors, black is mysterious and deep, and blank is elegant and remote. The two are in line, which makes the object not as clear as the things in front of us, and provides room for imagination and thinking.

The whole film of shadow is a painting of ink and wash.The design of ink and wash style weakens the background of the times. We can’t judge where and when the story happened. Everything is simple, only characters and stories. In this environment where everything tends to be fuzzy, we can’t distinguish the true from the false, and we can’t find out the real and the virtual. Everything is “empty”, that is, everything is “there”, so this story can take place in any place, in any age, just like the true, false, virtual and real is not an eternal topic. The freehand brushwork of ink style makes people think. The audience is attracted by the black and white artistic conception. Subconsciously, they are brought into that historical era. They abandon all miscellaneous and follow the plot to experience the purity and tranquility with Oriental beauty.

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2 . Avatar

The design of Neville characters in Avatar is that they have green skin, long ears, often pigtails and tails, tall and slender, with bright eyes. They are good at running and jumping in the jungle. They use bows, arrows and spears such as hunting in ancient times, domestication of animals as mounts, collective living on a big tree, these scenes are quite similar to primitive people. The design scene of the film is very imaginative. The shape of Hallelujah Mountain is familiar to people, but no prototype can be found in reality. The design of space shuttle and helicopter has a sense of future in Pando On La planet, the emitting fluorescent plants are like huge luminous sensors. The beautiful floating trees are like fairies. These three-dimensional scenes bring a novel experience of watching the film. The magic alien space makes people have endless yearning.

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Color Composition

The central idea reflected in the film through the description of the main colors. This is a process in which the author observes and thinks about life for a long time, accumulates rich materials, and then selects, cuts, selects and refines the materials with film thinking, so as to transform them into themes. The composition of theme color occupies a dominant position in the film. It controls the characters, plot, details, dialogue, performance, structure, and even various means of expression in the film, so as to serve the embodiment of the theme color, and present it to the audience with the artistic integrity, harmony and unity of film color.

Its color must be clear, but its expression must be implicit. Usually through contradictions and conflicts, character character and fate, through the development of the plot, details of the description, naturally revealed, through the elaborate step by step bedding and color design, step by step to show the theme.

In addition to the theme color in the film, all other colors constitute a foil. The theme color goes deep into the inner world of the characters in the film, not only on the surface, but also on the form. It serves the plot, the characters and the whole film.

Examples

The Grand Budapest Hotel

Slowly advancing the long lens or long-time camera frame, the characters in the middle of the picture, and at this time, the home decoration behind the characters has become a part of the picture that can not be ignored. Naturally, the audience will gradually extend their eyes from the characters to these scenes which are not the protagonists. Everything is pleasing to the eye. You don’t even have to freeze the picture down to appreciate it carefully, because the director has given you enough time.

Color rendering the overall atmosphere of each scene, for example, when the lawyer is about to be killed, the scene is eerie gray green. There are also many times when the character’s clothing and the surrounding environment are harmonious, or the extremely disharmonious contrast is made to form a sense of character breaking into the scene to render a certain plot. For example, when Dmitry chases Agatha in the hotel, he is dressed in black, and his strange face is suddenly caught in the middle of the pink gold scene. Generally speaking, bright or sweet warm colors are the main tone of Budapest hotel.

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In addition to the director’s personal preferences and make the audience feel happy. The use of rich colors also helps to highlight the drama of the story, that is, the audience can perceive through the color that Wes’s story is unlikely to be real, and to a large extent, it is integrated with the elements of legend and fantasy. This fits in with the absurd details of the story.

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In Budapest Hotel, although it is a comedy, but it depicts the tense plot and the sad theme of the collapse of a beautiful world, the use of these bright colors is a striking contrast to the characters’ inner panic, helplessness and heavy special effect. In fact, the warm and bright colors in the film may also be the best way to render the charm of a charming era, at which time even prison guards could not bear to stab and check the beautiful snacks.

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Then there are the impressive, symmetrical, clean and accurate five five opening pictures in the film, as well as the visual impact brought by these regular and coordinated pictures. As the symmetrical lens moves forward, the audience seems to hear him saying, “Hey, pay attention! Here I am emphasizing it Every frame of the film lens is extremely exquisite, and almost every picture can be cut down into a perfect painting.

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A large number of parallel push-pull lenses are used to represent the panic of the characters, or to depict scenes different from the normal. The abnormal state of the scene is often the image of the characters’ inner anxiety and depression. However, the people in these unexpected situations are calm on the surface and calm in tone, as if everything is up to fate and has nothing to do with me. A large number of moving long lenses are used, or the camera frames are fixed. The characters enter the camera slowly or are fixed in the center of the picture for a long time, which produces a feeling of examination, intrusion, abruptness, boldness, embarrassment and farcicality, as if the actors and the audience can feel the existence of the lens all the time.

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Rhythm

The so-called film rhythm does not mean to grasp the time relationship between the shots, but the continuous time of each shot and the set of attention movement aroused and satisfied by it. This is not an abstract rhythm of time, it is a rhythm of attention. It doesn’t mean that if the shot time is long, the rhythm will be slow; if the shot time is short, the rhythm will be fast.

The rhythm of the film is to use various techniques to produce different levels of contrast effect. Its function is to guide the audience’s attention and stimulate the audience’s emotion
Long and short shots, fast and slow rhythm are only relative concepts. In the “slow” atmosphere, “fast” is the emphasis; in the “fast” atmosphere, “slow” can also be emphasized. Use fast and slow contrast to create rhythm.

The rhythm segmentation of the film:

1. Narrative rhythm (plot structure, story density, narrative skills)
2. Performance rhythm (mood change, body language rhythm, character scheduling, dialogue rhythm)
3. Modeling rhythm (lens length, scene change, camera movement and scheduling, light, color, special effects and special effects photography)
4. Sound rhythm (voice, music, sound)
5. Editing rhythm (shot frequency, cohesion skills, space-time continuity, viewpoint change, attention direction)

Examples

 Tuner

For the film “tuner”, excellent narrative skills and the use of lens is one of the important factors for its success. For a micro film, in order to arouse the audience’s desire to watch and enhance the sense of bringing in the film in a short period of more than ten minutes, a good script suspense setting becomes the key to open the film story. It is not difficult to find that the film skillfully uses the technique of flashback, putting the ending of the story in front to arouse the curiosity of the viewers. With the piano sound played by the hero and the depressing picture atmosphere, the audience can not help but think actively about the identity of the protagonist and the events he is experiencing, which successfully catches the audience’s attention.

At the same time, the director timely uses the shot scheduling, with the plot itself to further increase the sense of suspense. In the background music of the piano, a large number of close-up shots are alternately switched, showing the naked upper body of the hero, the man’s face lying on the sofa, and the skirt and hem of the people standing behind him.

Several groups of close-up not only contrast the weird atmosphere of the current situation, but also increase the absurdity and tuning of the environment and things the hero is in from the visual psychology The reason why the teacher played the piano naked and who were the two bystanders in the close-up shot? All kinds of questions caused by the irrationality successfully completed the setting of the suspense tone of the whole film in one or two minutes. The beginning of the flashback is actually the end of the film’s horror. The whole opening structure is not only exquisite but also thought-provoking.

Due to the special time limit of micro film itself, it is necessary to adjust the narrative structure to ensure that the film can enter the climax quickly. Therefore, the description of the climax and the climax itself is particularly important and can not be delayed. In the process of the movie, the director uses the actor’s skill of dressing up as well as the protagonist’s dangerous dialogue The self disguised self praise and the boss’s slightly unhappy anxiety and worry words quietly implied the danger and killing opportunity that followed.

The climax that followed took up more than half of the time of the film. With the advance of the motion lens, the subtle relationship and psychological rhythm between the male chief tuner and the old lady client are changing subtly. As soon as the male master tuner entered the old woman’s room, the camera made a slow and gradual progress inside the door. The depth of the camera lens created a frightening atmosphere for the overall environment, which made the audience have a psychological distance from the scene in the room, and slowly pushed the emotional festival to the extreme.

Moreover, the film borrows the classic suspense setting technique. The camera is aimed at the old woman standing behind the tuner with a gun for a long time, waiting for the sound of his piano to come to an end. This kind of long-term waiting makes the audience and the tuner’s internal feelings of panic tend to be consistent. Until this time, the director skillfully narrative, slowly show the panorama of the story in front of the audience, recall the strange playing scene at the beginning, and finally make the audience understand that the beginning of the film is the ingenious connection of the end. The director makes good use of shooting techniques to place the end of the story at the beginning, thus forming a closed-loop structure with the end connected from the beginning to the end of the story, which successfully supports the suspense of the whole film, which makes the audience marvel.

1 . politics affecting media

• Games

“Tom Clancy’s The Division 2“

Condelius explained: “for example, Tom Clancy’s The Division 2, its game background is a dystopian future. There are many interpretations that this is the trend of our current society, but it is not at all, it is just a fantasy. It’s just a world we’ve created for players who want to explore how to be good at the end of the world. But people always like to put political factors into it, and we will try our best to avoid these interpretations, because we don’t want to have a position in the current politics. And it’s bad for business. “

This view should not be a sudden whim, because “Tom Clancys The Division 2” has indeed caused controversy because of the suspected hidden political factors. In Tom Clancys The Division 2, Washington is also in crisis. In the trailer, we can see the White House and the fragmented cities, which seems that the whole American society is on the verge of collapse. And these settings make players think that this seems to be Ubisoft carrying private goods, satirizing the current political situation.

• Film

“Citizen Kane“

It’s a story about Charles Foster Kane (played by wells himself). He was poor in his childhood, but he became a newspaper magnate in his 20s. He married the president’s niece, ran for governor of New York, and went to the top of his life. However, the exposure of his extramarital affair made him fall. The technology and innovation used in this film were controversial at that time, but today, it is these technologies that have forever changed the way the film is made.

When Citizen Kane was released in 1941, it was highly praised by American critics and won the screenwriter award of Oscar. However, due to the feud between Orson wells and Hollywood, the entanglement with the Hurst group, and the secret conflict with the U.S. government, he couldn’t get along at home, and his reputation became lower and lower for more than a decade.

• TV

“the Kennedy”

The eight episode Mini drama the Kennedy describes the legendary life of former US President Kennedy, including his early political career, brother conflicts, involvement with gangs, drug abuse and relationships with several important women. The play also mentions such important historical events as the bay of pigs incident, the Cuban missile crisis, the civil rights movement and the assassination of Kennedy, which is still inconclusive. The investment of the whole play is 30 million US dollars, with a strong cast and excellent production.

“The Kennedy ” may be the most tangled American drama to date! Because the plot is too much to restore the historical truth and expose the truth of the president’s assassination, it has been banned by the United States repeatedly.

• Advertising

“Brexit”

After the brexit referendum, many people knew a new word – “brexit”. Although many people are full of surprise at this result, in Britain, due to a series of economic and social problems, people’s dissatisfaction with the government has been brewing for a long time. The rise of nationalism and isolationism foreshadows this “divorce”.

The drum, the British media, recently published a group of political satire advertisements. Although these political satirical advertisements are not specially designed for brexit, they all reflect people’s dissatisfaction with the British government and the social status quo.

The British Independent Party is a far right party in Britain, which adheres to national conservatism and always advocates that Britain should withdraw from the European Union. In this advertisement, only the gate of 10 Downing Street, the prime minister’s official residence, reveals their ambition to gain power.

• Online streaming

“News website”

NBC: more left-wing, pro democracy party, more radical views CNN: center left, pro democracy party, more moderate views ABC: grassroots, but most of the time left, views are also more moderate. Fox: more right-wing, pro Republican, more radical views.

As for the objectivity and neutrality of news, we can only say that in fact, foreign news organizations are very objective, but news reports are not a single statement of facts. If so, the news will be too dry, and the news contains follow-up comments.

If there is a cat that can catch mice in the White House, all news organizations will report that “there is a cat that can catch mice in the White House”, instead of saying “there is a dog that can catch mice in the White House”, because that is distorting the fact. But NBC reports will focus on Obama’s daily close interaction with cats, giving viewers an impression that Obama is approachable. Fox’s report will focus on why the White House has been infested with rats for years, so it is necessary to have a cat to catch rats, thus questioning whether Obama is wasting taxpayers’ money and giving the audience the impression of Obama’s incompetence. Neither of the reports here lies, or even tells the truth, which is objective and neutral.

2 . product placement in film

A. Zootopia: making advertising placement more interesting

In terms of advertising placement, the cleverness of “Zootopia” is that it does not directly put the co-operative brands into the film mechanically, but processes them again, so as to integrate them into the story.

In early promotional posters, Nick the fox and Judy the rabbit stand in a place like New York Times Square and look up into the distance. In this poster, viewers can find billboards like the logos of Nike, lululemon, Prada and Buberry. In another poster of animals crossing the road, Judy the rabbit uses a smartphone that uses the “bitten carrot” logo, while nick the fox holds a more nexus like mobile phone, while a giraffe in the distance holds a cup of coffee that looks like Starbucks but has the head of an antelope.

According to Disney, the film’s producer, its official advertising partners are target, Uber, Google, subway and yoghurt brand Yoplait. However, the advertising placement of these five brands in the film is not obvious. Miss Arctic shrew carrying a bag of targoat was hit by a doughnut when crossing the road. The polar bear took nick the fox and Judy the rabbit to meet the gangster Mr.Big At that time, he used the animal city version of Google photo, and Uber became Zuber in the movie.

These modified brand logo with a bit of teasing, not only did not make everyone disgusted, but became a fun thing.

B. 007 series films: turning advertisement into film culture

“007” series films make agent James Bond famous all over the world, and also show the implanted products in the film to the global audience. Through the series of 007 films, the audience can see all kinds of luxury cars, concept mobile phones, luxury watches According to incomplete statistics, there are at least 17 obvious brand placement advertisements in “007: Ghost party”, and the product placement advertisements of more than 20 “007” films have built a luxury brand kingdom.

The implanted products in 007 films often appear as close-up shots. As movie props, the audience can clearly see the image, logo and even characteristics of the products. They are related to the protagonist’s identity, status, occupation or life attitude, and form a community with the protagonist. As an ordinary audience, such advertising placement has become a part of the film, which is psychologically acceptable, so the communication effect is greatly enhanced.

C. “Queen in Prada”: accurate advertising for target audience

The Hollywood film “Queen in Prada” was first placed in the title of the film, which reflects the work and life of the high-end fashion circle, and is bound to be concerned and sought after by fashion people. As soon as the film was released, the heroine’s various clothes became the wind vane of many fashionable white-collar workers. It is said that a Gucci top was sold out of stock.

In the film, major brand partners include Prada, Chanel and Gucci. With the development of the plot, Meryl Streep finally appeared in Prada’s big black v-lapel dress, which gave Prada a perfect publicity effect, and the whole film almost became its long advertisement.

D. Public enemy of machinery: Taking advertisement as the footnotes of film spirit

The science fiction action movie mechanical public enemy, starred by Will Smith, is adapted from the classic works of science fiction master Asimov, which has been permeated with the protagonist’s worries about the future development of science and technology and the loss of human nature. At the beginning of the film, the hero specially shows the reproduction of a product of converse in 2004. On the one hand, the plot tells the audience of the protagonist’s stubborn character and love for the old school culture; on the other hand, it also reflects his worry about the gradual loss of human nature in the high-tech era.

At this time, the old Converse shoes have become a kind of film symbol to remind people to keep a distance from this fully mechanized high-tech era, and not to give up questioning and reflection. The spirit of freedom pursued by individuals should not be erased in any era.

Audi, the advertising partner of the film, designed a new concept sports car RSQ for the film in order to promote its products. As a result, the sales volume increased greatly.

The advantages of film embedded advertising

high exposure, easy to accept

The emergence of advertising elements in the film is not limited by time, but depends on the development of the story and the needs of the scene, so that products or brands can appear repeatedly in the film, which is the condition that other traditional media do not have. Before the film is released, it is always to enlarge the publicity of the film on various media, and use enough space to attract the attention of the media and the audience. However, for the audience, the film has become their most intuitive and broadest carrier. Through the vivid characters in the film, people’s lives are affected. As long as the drinks, wrist watches, finger rings and mobile phones in the hands appear in the movies the audience likes, they will leave an impression on the audience, and this kind of inadvertent implantation will actually become a product Or the most effective advertising of the brand.

The elements embedded in the film are usually presented in the form of physical props. Unlike other media, they are displayed by words, sounds or performances. Instead, the most direct way is to quietly input the advertising information into the audience’s mind. In the form of entertainment, the audience can accept it with an entertainment attitude, thus achieving the advertising effect imperceptibly. In the repeated appearance, it was quietly accepted by the audience.

freedom of products and unlimited types

There are a lot of product categories for embedded advertising in films, not only physical products, but also services and brands. For some special commodities, such as tobacco, the dissemination on the general mass media is very limited, but the plot and plot in the film can be highlighted.

long duration and wide influence

A popular film has a strong vitality, it can not only be sought after in the cinema, but also spread more widely in television and the Internet. It can be shown not only in the domestic market, but also abroad. The embedded advertising in the film will be played again and again with the popularity of the film, and it will appear repeatedly.

high arrival rate of embedded advertising

In the dark cinema, the audience can devote themselves to the film world. The joy, anger, sadness and joy in the film, the twinkle and smile of the protagonist affect the hearts of the audience. Because of this, the products used by the protagonists and their favorite brands will directly affect the audience’s choice after leaving the cinema.

When the audience in the cinema is watching the film, it is equivalent to being hypnotized by the film. When the audience is temporarily in a hypnotic state for advertising, the audience’s acceptance is high.

two win between advertising and film

Film embedded advertising not only brings rich investment income for film makers, but also brings profits after the house for products or brands. Use some old data to illustrate.

The disadvantages of film embedded advertising

poor discrimination of advertisements

The number of embedded advertisements in films is increasing. If there are too many advertisements in a movie, it will be difficult to leave a deep impression on the audience and make the audience feel disgusted.

the expression is simple

At the beginning of film placement advertising, most of the advertisements appear product information in the film to give the product or brand a chance to meet the audience. Maybe they don’t think too much about the relevance between the product itself and the film and television works, and the form of expression is not natural enough to reflect the connotation of the product.

shallow implantation has no brand effect

Brand effect is formed by continuous communication. Without continuous communication, there will be no brand effect.

3 . how media is influenced

• Politics

Government management and appointment of media leadersThe government sets up three-dimensional Bai for the media – enterprise management of public institution. Media is needed for government public opinion management and propaganda.Legislation press law to be enacted.

Because of the far-reaching influence of mass media on political life, politicians attach great importance to their control. As early as in ancient Greece, in his Republic, political scholar Plato took information dissemination as a tool to shape the national soul and as a means for philosopher king to rule. The implication is that the media is under the control of the government. He also advocates the establishment of a strict censorship system, in which prosecutors conduct pre inspection of unpublished works. Han Feizi, a representative of ancient Chinese Legalists, has a similar view. In modern times, the western capitalist countries carried out the media freedom, while the socialist countries strengthened the control of the media.

• Consumerism

Under the background of the improvement of the audience’s viewing level, the expansion of the right to view films and the enhancement of information judgment, the film industry has become a consensus that content is the king and quality is the foundation.

• Ideology

The evolution of IP from literature, animation, drama, TV series and other cultural products into films will still be the main source of film themes, which is the need for the film industry to reduce risks and also the internal demand for influential literature and other IP to extend to related art forms. Film sequels and series will occupy the main share of high box office films. In turn, it will stimulate the prosperity of commercial literature and the high interaction between films and other entertainment products.

• Evil corporations

With the high level of investment and the high level of the market, the demand for high-quality products is increasing. To this end, film and television production companies continue to increase production costs, employ well-known directors, screenwriters and actors to shoot grand scenes and employ well-known post production teams to attract audience’s attention. On the other hand, the influx of capital has led to the rising prices of high-quality IP, scripts, scenes, props and leasing, and the production cost of film and television works has further increased.

At present, the film and television cultural industry is developing rapidly, but the infringement and piracy of film works occur from time to time. Film companies spend a lot of money to invest in film production and distribution, which may be copied, uploaded and played by other websites and vendors by illegal means before and during the release of the film, thus damaging the interests of the company.

• Current events

In the last century, there were many extreme events triggered by Hollywood movies. In 81 years, John Sinclair was infatuated with the actress Judy foster in the film taxi driver to shoot US President Reagan. In 1994, the movie “born killer” led to several fatal homicides. These tragedies may not necessarily be related to the content of the film, but the scenes of blood and violence do have certain social incitement, so it is necessary to strictly review the content.

4 . summary – the evolution of how politics shape media

The so-called “media society” here has two meanings: one is that our society is driven by the media and moves, changes and develops under the strong influence of the media; the other is that the media constructs a society with its independent will, which is parallel or cross operated with the real society, or in other words, the media society is the imitation, deformation, exaggeration and projection of the real society.

In the media society of the 21st century, due to the omnipresence of mass communication, political communication will inevitably be driven by media. In the past 20 years, the process of political media has been speeding up, which is an important sign. In this regard, AI Yingge and Jinde pointed out in the book “important news” that “media politics” has been everywhere, not only in the United States, but also in other countries. On the contrary, the traditional system formed by public organizations representing different preferences (such as political parties and interest groups) is declining. It is no exaggeration to say that the use or even manipulation of mass media to promote the realization of political goals is not only a standard way of operation, but also a need for survival.

From the perspective of democratic politics, the mass media’s news communication is indeed of great importance, and has become a key factor for the smooth realization of the realistic democratic politics. Today, it is very difficult for all kinds of political opinions to reach the public if they are not transmitted through the media.

Therefore, it is not difficult to see that the so-called political media, as a phenomenon, is the product of political development, and increasingly highlights the universality of today’s media society, but also shows a new operation mode of political communication; as an observation perspective, it reveals that in today’s highly developed media and political democratization. There is an inseparable relationship between news media and modern politics.

5 . two topics of research for animation based around politics

I. Pay attention to the possible ideology while accepting foreign culture

After the “modernization” period after the Second World War, the views of the western world have almost become universal values. In the 1960s, in the film of American western development, the fighting between white and Indian, the image of Indian was usually negative. At least on the surface, the novel reflects on the white people’s invasion of the Indians. The images and lyrics presented in the theme song “the color of the wind” also show the biological cycle of man, animal and nature in Indian culture; Aladdin was released shortly after the first Gulf War, and Disney used the most representative story of the Muslim world “Arabian Nights” as the material, which was also a friendly expression to the Muslim world. After the second Gulf War, mengchang’s “Legend of the seven seas of Sinbad” was influenced by “9.11”, and a strong attempt to “de Middle East” was clearly revealed. Hua Mulan has become Disney’s best animation of the year, which also reflects the fact of China’s economic strength from one side. As advertised on its poster, “from today on, this beautiful legend will spread all over the world.”. Animation also reflects the reality of the international political and economic situation. Multiculturalism has become the mainstream trend since 1980s.

II. Pay attention to the political correctness and value of animation

On the popular level, the main function of film is undoubtedly to entertain the public. Even so, the entertainment attribute of the film will certainly be affected by the mainstream cultural atmosphere and political and economic situation. Besides the effect of “watching the whole family”, animated films also have the function and strength of expressing the truth by writing and criticizing the time theory. These text structures will enrich the content of animated films. Since the 1990s, animated films have tried to construct the traditional value from multiple perspectives. Besides achieving the effect of “whole family viewing”, animated films must also hide some deep-rooted traditional values.

Part 1 Film Language

This week, I learned more about film language through a series of movie introduction videos – how to make movies, which includes “how to Speak Movie Part 1: The Camera”, “How to Speak Movie Part 2: Mise en Scène” and “How to Speak Movie Part 3: Editing”.

1 . Visual Language (the camera)

I. Shot length — how far the camera is from the thing that is shooting

Shot length refers to the difference in the range of the object in the camera recorder due to the different distance between the camera and the object. Generally, there are five kinds of scenes. From near to far, they are extreme close up (above the shoulder of the human body), close up (above the chest of the human body), medium range (above the knee of the human body), wide shot (all and part of the surrounding environment of the human body), and extreme wide shot (the environment of the subject). In the film, the director and the photographer make use of the complicated scene scheduling and shot scheduling to alternately use different scenes, which can make the narration of the film story, the expression of the characters’ thoughts and feelings, and the handling of the relationship between the characters more expressive, so as to enhance the artistic appeal of the film.

The larger the scene, the more environmental factors. The smaller the scene, the more emphasis factors.The further away the camera is from the object, the calmer we are when we watch; that is, the further apart we are in space, the less emotionally involved we are, which is an interesting phenomenon.

The wide shot itself has an objective effect on the scene, which is firstly because the spatial relationship in the distant shot is clear and definite. The extreme wide shot can shoot a large range, but increasing the distance will make us unable to see the details clearly, thus making the image abstract, so that the audience can only understand less things.The closer the shot is, the more distant the shot is, the closer we are to the character emotionally. This is because a small part of the environment can be highlighted, not only to emphasize something relevant to it, but also to deliberately ignore the rest.

Different scenes can cause different psychological reactions of the audience. Panorama shows the atmosphere and close-up shows emotions. The medium scene is the scene that shows the communication of characters very well, and the close-up scene focuses on revealing the inner world of the characters. From the far to the near, it can be used to express the rising emotions; from the near to the far, it is suitable to express the more peaceful, profound or deep emotions.

type: wide (far) and tight (near)

wide shot — can see the whole subject and the whole scene

meaning: let the action speak for itself

Wide shot generally shows the whole body image of a person or the whole picture of a specific scene. Panoramic pictures can completely show the body movements of the characters, reflect the inner feelings and psychological state of the characters through the performance of the body movements of the characters, and can show the specific characters through the specific environment and the specific scenes. The environment has the functions of explaining, explaining, setting off and setting off the characters.

extreme wide shot — watch the whole scene from a distance

meaning: establish a place

Extreme wide shot is far-reaching and broad, mainly showing the geographical environment, natural features and open scenes and scenes.The composition of the long-range picture generally does not need the foreground, but focuses on guiding the audience’s line of sight to the distance through the far-reaching scenery and the open vision.

medium shot — a partial body shot of the subject (from the knees of waist up)

meaning: show off a character

The medium shot is the main body of most of the screen, in terms of characters, it is the performance of adults above the knee or part of the scene, which can make the audience see the body movements and emotional communication of the characters.

two shot — two characters in a frame looking each other’s shoulder

meaning: show closeness

Two shot is usually used to establish a relationship between two characters. They can be lovers, friends, enemies or just acquaintances.

close up — complete details of an actor’s face or an important subject

meaning: show powerful emotion or lack thereof

Close up shot is a picture that shows the part above the chest or part of an object. Its content is more focused on the main body. The space scope of the picture is extremely limited, and the environment space of the subject is almost excluded from the picture. It is the main scene to show the facial expression and emotion of a character and to depict the character’s character. It can be used to narrow the distance between the subject and the audience, which is easy to cause cross flu.

extreme close-up — closer than close up, can’t see the whole head

meaning: exposition and disorientation

A extreme close-up usually shows an adult’s head above the shoulder or details of some subjects. Through extreme close-up, we can describe the special signs on the head, eyes, hands, body or clothing, the special objects in hand and the subtle movement changes, so as to show the instant expression and emotion of the characters, and show the life background and experience of the characters. The single content of the extreme close-up picture can enlarge the image, strengthen the content and highlight the details, which will bring a kind of expectation and exploration intention to the audience.

II. Angle

One of the basic tenets of film art is: no picture is allowed to have any neutral place. It must be expressive, with posture and shape. Each shot has its angle, and the angle of the shot will guide the audience’s perspective and lead to the audience’s evaluation of the subject in the shot.

eye level — look straight, at the level of the actor

Eye level angle can create a sense of neutrality. Because in most cases, we see the world in this way. So flat angle photography is not easy to produce any special meaning. That’s the point, that is to say, in fact, eye level angles don’t make the audience notice the existence of angles themselves. But the other two perspectives will bring us different impressions, which will affect our feelings of actions or characters.

high angle — look down at the subject

meaning: make people seem small and kind of silly

In contrast to the low angle lens, the high angle lens looks down at the subject from a high place, thus making the subject look low, in trouble, easily deceived or weak. Directors often shoot victims at a low angle, and they also like to shoot cowards and losers in this way.

low angle — look up at the subject

meaning: make people seem large and menacing

Low angle lens is usually given a certain meaning. Through this perspective, the characters in the film can appear extraordinary, threatening, conquering, frightening, confident, or in control of events, depending on the dramatic environment. Of course, the specific meaning must be combined with text analysis. In action adventure movies, it is inevitable to use the tilt angle lens.

dutch angle — tilted angle

meaning: make everything seem strange

III. Focus & Lenses (depth) — how much it is in focus

deep focus — a long depth of field, everything in the shot is in focus

shallow focus — a short depth of field, part of the shot is in focus

rack focus — change the focus mid shot

meaning: draw the eye to the important things and details

title shift — selectively blur the part of the image

telephoto lens — compress space

wide-angle lens — give a space more depth

fisheye lens — make some disturbing images

IV. Movement

handheld — hold the camera

meaning: give more freedom to the camera man, but less controlled

steadicam — have a rig stabilize

pan — swivel the camera on a tripod horizontally left or right

tilt — swivel the camera vertically up or down

zoom — the length of the shot is changed by adjusting the lens from wide to tight quickly or from tight to wide slowly

dolly/tracking shot — move with the subject or without from left to right or back to front or a curve, raise above the subject or brought down to the subject

dolly zoom — the camera is dollied while zooming changing the depth of the shot

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2 . Mise-en-scene

Mise-en-scene comes from French, meaning “put in place” or “put in the scene”. It is an expression used to describe the design of drama or film production. In essence, it refers to “visual theme” or “story telling”, which is expressed in a poetic way through the visual art techniques of split lens, film photography and stage design, and by the director. It is also often used to refer to multiple single scenes in a movie to represent the film.

Scene Design
An important element of “scene layout” is the layout of the scene and the setting of objects (props) in the scene. Setting design can be used to amplify the character’s emotion or dominant emotion, including the physical, social, psychological, emotional, economic and cultural significance in the film. One of the most important decisions made by art directors and directors is whether to shoot on location or on set. The main difference between the two is that the setting and props must be taken into account when shooting on set. However, on-site shooting is more commonly used than location shooting because of its cost-effectiveness.

Cinematography
The intensity, direction and quality of lighting can affect the audience’s understanding of characters, actions, themes and emotions. Light (and shade) can emphasize texture, shape, distance, mood, time of day or night, season and charm; it will affect the way color is presented in tone or depth, and can make the audience focus on specific elements of composition. For example, highlights can evoke attention to shapes and textures, while shadows often hide things, creating a sense of mystery or fear. Therefore, the lighting must be thoroughly planned in advance to ensure its expected effect on the audience. It’s an important part of the process because it coordinates the camera and the light.

Space
The performance of space affects the reading of movies. The depth, proximity, size and proportion of scenes and objects in movies can be controlled by camera placement, lens, lighting, and setting design, so as to effectively determine the emotions or relationships of elements in the story world.

Visual Arts
The organization of objects, roles and spaces within a framework. One of the most important concepts about film composition is to keep a symmetrical balance. This refers to the uniform distribution of light, color, objects, or graphics in a shot. The unbalanced composition can be used to emphasize certain elements of the film that the director wants to pay special attention to. This tool works because viewers tend to focus on imbalances because they look unusual. The role position of the director will also vary according to the importance of the role.

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3 . Shot Dialogue

I. Sequence Shot

Sequence shot refers to a relatively long time (some as long as 10 minutes), a scene for continuous shooting, forming a relatively complete lens paragraph. As the name suggests, it is a shot that takes up a long film continuously over a period of time.

1. Fixed long lens: it is formed by taking a scene continuously with fixed position
   Lens, called fixed long lens.
2. Depth of field long lens: the technical means of shooting large depth of field is used to make the scenery (from the foreground to the background) at different positions in the longitudinal depth can be clearly seen. Such a lens is called a scene depth long lens. Take a picture of a train whistling. With a large depth of field lens, you can see the train clearly when it appears in the distance (equivalent to the distant view) and gradually approaching (equivalent to panorama, medium range, close-up and close-up). A scene depth long lens is actually equivalent to a group of long-range, panoramic, medium range, close-up shot combination of content.
3. Long motion lens: a long motion lens is formed by using the camera’s push, pull, shake, move, follow and other motion shooting methods to form a long lens with multiple scenes and multiple shooting angles (azimuth and height). A long motion lens can perform the task of montage lens composed of different scenes and different angles.

II. The Cut

In the post-production process of film editing and video editing, a cut is an abrupt, but usually trivial film transition from one sequence to another. It is synonymous with the term edit, though “edit” can imply any number of transitions or effects. The cut, dissolve and wipe serve as the three primary transitions. The term refers to the physical action of cutting film or videotape, but also refers to a similar edit performed in software; it has also become associated with the resulting visual “break”.

1. Action sequence
   Switch from one shot to another. It is common to clip when the actor is moving, but the editing point does not have to be between fights.
2. Disjunction
   First cut the screen to the insertion lens, then cut back. You can insert shots in the same space as the actors.
3. Cross editing
   Cut shots of different scenes and switch back and forth frequently to establish interaction. For example, most phone shots are usually cross cut.
4. Skip cut
   In the same frame, editing a picture is called skip cut, which is usually used to deliberately show the passage of time. This technique is often used in montage.
5. Match clip
   Matching clips are often mistaken for skip cuts, but they are different. A matching clip is a shot cut on the same action point or a shot with similar composition. Matching clips are also often used as transitions, because the images have a jumping motion, jumping from one place to another, which may be the reason for confusing matching clips with skip cuts.

III. Transitions

Each paragraph (the smallest unit of a TV film is a shot, and a shot sequence formed by a shot connected together) has a single and relatively complete meaning, such as showing an action process, showing a correlation, showing a meaning, etc. The transition or transition between paragraphs, scenes and scenes is called transition.

1. Fade in and fade out
   In the film, the common transition effect is fade in and fade out, dissolve into or from the black picture.
2. Overlap
   Superimpose one shot on another.
3. Jump splicing
   Jump splicing is a shot that suddenly breaks the mood of the front field. The most obvious example is waking up from a nightmare. From a fierce scene to quiet, or from quiet to fierce conversion.
4. Invisible transition
   Use shadow to hide clips to create an illusion of the same shot.
   Each paragraph (the smallest unit of a TV film is a shot, and a shot sequence formed by a shot connected together) has a single and relatively complete meaning, such as showing an action process, showing a correlation, showing a meaning, etc. The transition or transition between paragraphs, scenes and scenes is called transition.

IV. Continuity Editing

Screen Direction — It is necessary to keep the visual fluency of a set of lenses. Simply put, screen orientation refers to the orientation of the subject in the scene – left or right. In splicing, screen orientation can be used to maintain visual continuity, or in an unconventional way to enhance the impact of the scene

180 Degree Rule — An imaginary line formed by the direction of a character’s movement, line of sight or related position, sometimes called a 180 degree line. Changing the angle of photography according to the law of axis can ensure that the direction of movement or related position of the characters is always clear, otherwise it will cause confusion

Match On Action — A kind of continuous play splicing method, in which the lens of the same action but different lens angle are spliced together at the action point without interruption.

Crossing the axis — Axis is an imaginary straight line or curve formed by the line of sight direction, motion direction and the relationship between different objects. Their corresponding appellations are direction axis, motion axis and relation axis. When setting and shooting the camera position, we should abide by the axis rule, that is, setting the camera position in one side of the axis, no matter how many shots are taken, how the camera position and angle change, and how complex the camera motion is. From the picture, the motion direction and position of the subject are always consistent, otherwise, it is called “over axis” or “axis jumping”.

Shot/ Reverse Shot — A shot in which the film runs in the opposite direction. It is shown on the screen as the opposite of the actual motion process. It is usually used to shoot thrilling scenes. If we use the method of reverse photography to capture the car driving safely from the overhanging edge, the shot projected on the screen is the scene of the car rushing straight into the cliff and falling into the cliff.

IV. Discontinuity Editing

• Freeze Frame
• Slow Motion
• Fast Motion
• Reverse Motion
• Jump Cut
• Match Cut
• Overlay

Montage

When different shots are spliced together, they often produce specific meanings that each lens does not have when they exist alone. Writing in this way is also known as montage.

Montage generally includes picture editing and picture composition. Picture composition: a unified picture composed of many pictures or patterns juxtaposed or superimposed. Screen editing: the way or process of making this kind of artistic combination is to arrange and combine a series of shots shot in different places, from different distances and angles, and in different ways to narrate the plot and depict the characters.

Effect

• Through the cut and join of lens, scene and paragraph, we can choose and choose the material, so as to make the main and secondary contents clear and reach a high degree of generalization and concentration.
• Guide the audience’s attention and stimulate the audience’s Association. Although each shot only shows a certain content, the combination of a certain sequence of shots can regulate and guide the mood and psychology of the audience and inspire the audience to think.
• Create unique film and television time and space. Each shot is a record of the real time and space. After editing, it realizes the reconstruction of time and space, forming a unique film and television space-time.

Category

• Parallel montage
  This kind of montage is often represented by two or more plot lines in different time and space (or at the same time and in different places), narrated separately and unified in a complete structure.
• Cross Montage
  Cross montage, also known as alternating montage, is a fast and frequent alternative splicing of two or more plot lines in different regions at the same time. The development of one clue often affects the other, and each clue is interdependent and finally converges together.
• Reverse Montage
  This is a montage way to disrupt the structure, which first shows the current state of the story or event, and then introduces the whole story, which is shown as the re combination of “past” and “present” in the concept of events.
• Continuous Montage
  This montage does not develop as many clues as parallel montage or cross montage, but follows a single plot clue, according to the logical sequence of events, to narrate continuously and rhythmically.