What is scene scheduling?
"scene scheduling" was originally a French word, derived from drama, its original meaning is "putting in the scene is also placing the characters in the appropriate position in the scene. For the movie, scene scheduling is the most One of the complex components, the understanding of it is also different. In the eyes of film theorists, it has a broad meaning, including the lens composition itself, the framing frame, the movement of the camera, characters, lighting, set design and general The visual environment, and even the sounds that help synthesize the scene of the shot. Scene scheduling can be defined as a combination of film space, and it is a precise space. Editing is about time, and shots are about what happens in a specific space area. The frame of the movie screen and what the camera shoots are limited. The space for scene scheduling can be unique, enclosed in the frame of the screen, or open, providing an assumption of a larger space outside the scene."
Some scholars tried to further understand its meaning from the comparison between scene scheduling and montage. They believed that scene scheduling pays more attention to the integrity of things. It is almost opposite to the theory of montage. The classic continuity editing style is directional and instructive. , The scene scheduling style is "contemplation and meditation". Montage divides time and space for the purpose of "storytelling, while scene scheduling pursues the relative integration of time and space without artificial interpretation; the narrative of montage determines the director's self-expression in film art, and the documentary decision of scene scheduling The self-elimination of the director; the montage theory emphasizes the artificial skills outside the screen, and the scene scheduling emphasizes the original power inherent in the screen; the montage expresses the single meaning of things, which is distinctive and mandatory, while the scene scheduling expresses the nature of things. Many meanings, but instantaneous and random; montage guides the audience to make choices, while scene scheduling prompts the audience to choose. The most meaningful change brought about by scene scheduling is the change in the relationship between the director and the audience."
"Scene scheduling" is only a creative method of the director. It uses "changes in the spatial position of objects in the screen to show the relationship, personality characteristics and activities of the characters with vivid expression. If it can be compared with the scheduling of the movie lens Combined, the visual nature of film art has a stronger artistic charm."
These theorists and artists above have their own emphasis on "scene scheduling", and they all involve the content of the scene, but the discussion is a bit complicated. In contrast, Zheng Junli, a well-known Chinese director,’s expressions are focused and focused. He believes that scene scheduling is "the organic combination of actor and camera scheduling", and the concept of "scene scheduling" is clearly stated in 13 words. His summary comes from his rich and outstanding creations, which are truly inspired. Since it is an "organic combination", it is natural and comfortable. It is present but without traces. It is not a cold, purely technical type of work, but has emotional projection and cultural implications.
The basis for scene scheduling
At the shooting site, the director often has to face two questions:
actors will ask, what do I need to do?
photographers will ask, where is the camera?
For the director, he has to solve The problem is "scene scheduling." Scene scheduling tests the director's abilities. If he is a new director, he often has little options, so he has to fix the characters in one place and finish reading the lines, and the camera does not move. The consequence is that the picture is "dumb". The basis for scene scheduling is:
1, the logic of life
The logic of life is the primary basis that the director can rely on for scene scheduling. Van Sant, the director of the film "Elephant", is very good at using the camera. He allows the camera to follow the protagonist for a long time. On the surface, this aimless approach is a bit weird, but the camera follows a person for a long time, and the audience will be right. The subject was deeply impressed, even if he did not do anything worthwhile. The camera becomes a search and discovery mechanism. It is purposeless at first, following some people for a period of time, and finally locks on the main character. The director used the camera to create a strong suspense and asked the audience to find it with him. Van Sant said that when someone we have been waiting for comes from a distance, we will always look at him, because he is not an ordinary passerby, he is so important to us that our eyes follow He, we don't want this shot to be interrupted, we have to wait, willing to spend time to better observe and discover things. As for why the director uses this method, I'm afraid it is based on his understanding of this disoriented world, and there is a basis for life.
2, the flow of emotions
Good scene scheduling not only depicts the external form of the objective world, but also fits the thoughts and emotions of the characters' hearts. The emotions of the characters can naturally drive the actions of the characters and the movement of the camera. One feature of the film "Goose Flying to the South" is the use of a large number of continuous and smooth motion photography. For example, in the "Car Farewell" paragraph, the camera follows the protagonist through the crowded crowd, it also seems to be a kind of spirituality, the accompanying heroine is anxiously looking for her lover. At this moment, the camera is the most problematic, the most understanding, and the most sympathetic to her partner.
3. Cultural support
There are scenes in some films, if you take out a paragraph alone, it may be a bit confusing, but if the cultural support results are combined with the director’s cultural background and the consistent style of the film to study it, it will not be considered Doubts about the rationality and uniqueness of There are many examples in this regard. For example, in the film of the Greek director Angelopoulos, Jingcang will have more than conventional scene scheduling methods. This is actually related to Angelopoulos’ understanding and expression of Greek culture. Associated. The scene scheduling in the film "The Wandering Artist" is the most illustrative. In the same shot, the protagonist can cross different time and space: the protagonist walks on the street during the election in 1952, but this shot uses the square to announce that Goebbels is about to come. The news of the visit is over, time has gone backwards to 1939, there is no camera switching, and no transitional scenes. The time and space of the film is almost imperceptibly moving from one era to another. Such a direct scene scheduling method has never appeared in previous films. It breaks the barrier of space and breaks the linear movement of time. However, after careful consideration, you can fully understand the director's processing method, and even admire his idea. delicate. Angelopoulos is based on the deep national cultural accumulation of Greece as the source of his creation. Most of the protagonists in his film embark on a long journey in search of a belief. In the process of searching, all he gets is helplessness and confusion. It feels like a world away, and the time ambiguity brought about by scene scheduling just illustrates the changing world.
And in the scene scheduling of Abbas’ films, he can also feel the profound influence of Eastern culture on him, as well as his understanding of Eastern culture. Abbas believes that "dreams are rooted in reality," and his movie dreams are deeply rooted in the land of Iran, absorbing the nourishment of the ancient Persian civilization. He paid close attention to the ordinary lives of these ordinary people with great patience, and unearthed the deep emotional state from it. The large number of fixed long shots in the film were based on his unique cultural thinking.
