电影语言符号和句法(Cinematic languages symbols and syntax).doc

电影语言符号和句法(Cinematic languages symbols and syntax).doc

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电影语言符号和句法(Cinematic languages symbols and syntax)

电影语言符号和句法(Cinematic languages symbols and syntax) The film language symbols and syntax.Txt first laugh because I met you, the first time to cry because you are not in, the first smile in tears because you can not have. The film language symbols and syntax syntax The movie without grammar. However there are some clear rules on the use of film language, film and the syntax of the systematic arrangement of the use of these laws, and show that the relationship between these laws. As written and spoken language that is important to keep in mind the movie is the movie syntax using the result rather than the determinants of film. The film does not exist prior to conventional syntax. Rather, the film is as a means for syntactic practice and found effective and useful and natural evolution out. As the syntax text and spoken language as the film syntax is descriptive rather than prescriptive organic development of these years, it has undergone considerable changes. The Hollywood grammar here now may sound ridiculous, but in 30s and 40s and early 50s, it is a model of Hollywood films constitute the methods of immutable and frozen. The movie syntax must include the development of time, including the development of space. In the movie review, the plastic space adjustment called scene scheduling, but plastic time adjustment is called montage. The tension between the two twin concept scene scheduling and montage, since Lumiere and merry love at the beginning of the century for the first time to explore the possibility of each concept is always the power of movie aesthetics. These years, scene scheduling theory lays emphasis on the film and is closely related to realism, and is regarded as the essence of expressionist montage. However, this method is deceptive. The surface seems certain, indeed, scene scheduling attaches great importance to the object in front of the camera, and the montage can make film makers can control object. Despite these natural tendencies, but between the t

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