Montage is the translation of French Montage, which is originally architectural language, meaning assembly, installation. The film and television theater exhibited it to the field of film and television art, refers to the clip combination of film and television works. The meaning of "Montage" has a wide range. The narrow montage is specifically for a combination of lens screen, sound, and color element, that is, in the later production, the recording material is carefully arranged according to the overall concept of literary scripts and director, and constitutes a complete film and television work. The most basic meaning is a combination of screens. Movie aesthetics Bella · Braz Talk: Montage is a movie artist to join many lenses in a certain order in prior concept, and the result will cause these herbs to produce some expected effect. It can be seen that montage is not an element with the same elements with the lens screen, and montage is a rule of assembling these elements, a rhetoric method in a film and television language symbol system. Generalized montage not only refers to the assembly of the lens screen, but also refers to the unique artistic thinking of artists from the work of the art from the film drama. In this sense, the famous "Foundation of Movie Art is Montage" this sentence is still applicable today, and it is very likely to apply forever. Montage as the existence of skills and thinking, with a deep-rooted human psychology basis. Montage's visual psychology basic human life in a sports world, the object has leaving a series of images on our vision, and the retina requires a change in the field of view. When the human eyes, the eye is around a fixed object (such as a spot on the wall), the image will become ambiguous. If you look at another thing, go back to the original image it is clear. This experiment shows that the human eye has a constantly chasing new image physiological instinct. Brussea pointed out that this instinct between the people's renovation, such as the baby who has pursued the active object before it can condense. American psychologist Hobel and Swiss scientist Wesser (for 1981 Nobel Medicine and Physiology Winners) show that the human brain and the eye have special cells that detect image motion. These cells have had a physiological needs when observing the outside world: it will not always stay in one, but constantly transfer the line of sight, constantly changing the perspective of the world. Movies is the use of sound painting records and reproduces motion, while Montage's application, correctly reproduces the way we constantly pursue new goals when we usually watch things, reproduce our transfer in the real environment. Contact the inner process of the video. This psychological process is not alone in the art of film and television, and is also reflected in the field of art. When you are reading a novel, your eyes always move from a word from one word, move from one line to another. With the advancement of the novel, the speed of the eye movement is also accelerated. When the novel is in a gentle lyrical paragraph, the reader's mood looks calm and quiet, and the speed of motion will also slow and leisurely. This is consistent with the situation of people in a certain event. When a person is very exciting and very fast event, his reaction is greatly accelerated, he will quickly change the direction of the line of sight. On the contrary, he will be very calm and indifferent for a usual thing, and his observation of the object will become slow. This physiological phenomenon produced the rhythmic requirements of Monttaic. In summary, the impression obtained by a quiet observer can be reproduced by a so-called "slow cut" movie technique, that is, let each lens stay at the screen for a longer time before being replaced. . An impression obtained by an extremely exciting observers can reproduce "fast cut", that is, a series of short lenses with each other. The film and television artist is using montage to achieve this psychological process of humanity. Therefore, in a sense, the film and television artist can behave in the use of montage means, so that human visual psychological rhythm is justified in the film. In a quiet, peaceful scene, you will have the effect of beating and abrupt with the fast-cutting technique, so that the audience is uncomfortable.
On the other hand, if the content of the scene is exciting, the audience will instinctively require a quick cut. If the splicing is slow, it will damage the exciting film. So, how is the "quick slow" of the picture switching? It is only appropriate to determine the emotional content of the scene, and the scene is in the script. Therefore, the splicing type that appears in the film is the same type in the script that has been fairly clear in the script. This type in the script has gradually formed in the writing process of dramatic writing, even before he has not handshake, it has been used in the process of collecting material, decomposes and combined with time and space. It is in this sense that Montage is the unique artistic thinking of film and television creation is the basis of film and television art. From the combination skill to the way of thinking, Montage has experienced the historical process that happened to mature. Strictly speaking, the early movie did not have a montage clip, and there was no decomposition and re-combination of time and space. Lumiel's movie is actually just as a new technology display and simple game. It uses a very simple method, that is, the camera is aligned with a scene until the film is filled. This is a naturalized record that lacks montage. Meri Love began to connect the lens taken in different scenarios to make a narrative, so that the movie begins with the characteristics of "decomposition and combination". Obviously, he took a step forward than Lumier. But the whole of the whole game is taken from a unit, and the connection of the lens is also the simplest connection. He did not understand the huge significance of this connection combination. At the same time, the US director Bowt and Griffith are also looking for a unique way of movie movies. In 1902, Bobit took some film materials that reflect the firefighters in the old film, and the way to play with actors used the actor to take the picture of the mother and the child, and then put the film and the filming sheets properly. , Constitute "a life of a US firefighter". Bowt's attempt was a big step from Lumiier and Meri, which explored the possibility of movies to get spatiotemporal freedom. On Bowt, Griffith became the first person in the history of movie. In "Taoji Adventures" (1908), Griffith created the "flashback" technique; in "Desolate Villa" (1909), he first applied parallel montage to create a famous "final One minute to rescue "technique; in" Le Mengna "(1910), he created a great vision; in" Dragon Dalda "(1911), he used a very close look and developed alternate Human skills; in the "March" (1912), he applied mobile photography for the first time. Although Griffith has the above series of creation, and in the "one country's birth" (1915) and "Party Classes" (1916), the new techniques he created is very simple, But but never provisioned his montage method. He seems to be mainly in the invitation and a love for movie means to work, he has never expressed his presence of these principles. He believes that Montage is only vividly expressing the most powerful assistant of drama story, and Montage is just as a means of skill. From essentially, he has not understood the basic nature of Montage and its full potential. After the First World War, the Soviet film worker analyzed the Creation of Griffith and others, according to the requirements of the new Soviet regime on the art of film art, and in a series of experiments, the Montage became a series of experiments Set of complete movie theory systems, thereby forming the Soviet Mengtai, representing the characters is Kuli-Vf, Pufujin and Essen. Griffith focuses on how to deal with the relationship between the two dramatic scenes, and the Soviet director has more thought of the relationship between single-lens and pieces, as well as the meaning of this relationship and other means.
Kuri Shav and Pufujin believe that the essence of the film is the composition of the film, in order to organize the interrelationship of the piece of the impression - how to convert it from one lens to another, and they in time order What is made up. They are convinced that they can create extraordinary effects through montage clips, reaching the narrative and opinion of the movie. To this end, they did a lot of experiments to practice their theory, according to Papukin, 1920, Kuridhave has connected the following scenes: (1) a young man walks from left to right Come. (2) A young woman came from right to left. (3) They met, shaking hands. Young man is pointing with his finger. (4) a white big building with wide stairs. (5) Two people go to the stairs. thus connecting a piece of action turned into an uninterrupted action in the eyes of the audience: two young people met on the road, the man asked the woman to go to a nearby house. In fact, every piece is taken at different locations. The piece of young man was taken near the State-owned Department Store. The woman was taken near the Monument of Goo, and the piece of handshake was taken near the Grand Theater. The white buildings are from the United States. The film is cut (it is the White House), and the piece of the stairs is taken in the Savior Church. As a result, although these pieces were photographed in different places, it was a whole in the audience, causing the so-called "creative geographic? Quot; here to use people's illusion The fragment constitutes a whole, Montage's decomposition combination function fully reflects out. But the Soviet school not only stayed in Montage's narrative, and they also studied Montage's condensation. Popkin believes from a shooting point Photographed, then show every item to the audience on the screen, even if it was active before the camera, it was still just a "dead" object. Only put this image and other objects When it is, when it is expressed as part of each visual image combination, this object is given life. The Essenstein highly summarizes this idea of Montage. He said: two lens side Not a simple one, but a new creation. He believes that the unstoppable pieces taken by the camera are meaningless, no aesthetic value, only after the Montage Principles, can we will be social significance and art The visual image of value is conveyed to the audience. The famous "Kuri Shaof Effect" is a powerful evidence of the montage theory of Ensonstein. Popkin has made the following description of this test: "We are from one Several close-up of the Soviet famous actor Moz Esin, the famous film, we are still there, there is no table inerted close-up. We connect these exactly the same close-up to small pieces of other movies. In the first group, the close-up of Moz Elin is back to the lens of a plate, this shot obviously shows that Moz Youn is looking at this soup. The second combination is that the lens of the Moz Esin is tightly linked to the lens of a female corpse in a coffin. The third combination is this close-up behind a little girl in playing with a funny toy dog. When we show these three different combinations to some people who don't know this secret, the effect is very amazing. The audience is very appreciated by the performance of the artist. They pointed out that when he looked at the soup forgotten on the table, he showed a contemplation; they were very excited because he looked at the female corpse; they also appreciate that he was observing the girl The relaxed smile. But we know that in all three combinations, the face in the close-up is exactly the same. "Ensonstein once stressed: ignoring new appearances, no matter what the two lenses are columnnated, there will be new appearances , New concepts, new images. Through the lens of the column conflict, new significance is generated to guide the rational thinking of the audience. This is what Essenstein "juggling montage" and "rational montage".
