[New Criticism] Chen Zessen: Interpretation of Words under the perspective of movie language

2022 Issue 5 | New Criticism |

[New Criticism] Chen Zessen: Interpretation of Words under the perspective of movie language -take the slow word of Liu Yong and Zhou Bangyan as an example

[Summary] Words and movies are similar to artistic ideas, that is, they can use "language" to express time and space art and convey ideological feelings. The creation of the two models of Liu Yong and Zhou Bangyan just coincides with the characteristics of the film language. It can be seen from the time and space layout of the language of the movie. Liu Ci belongs to the sequential structure of time and space. Today's poetry readers and creators can take these two examples as an example to understand the word and work more meticulous and profound from a new artistic theoretical perspective, experience the characteristics of the rules and aesthetic characteristics of the word body, and appreciate the communication between different art forms. Where.

Artistic ideas always have similar things. Compared with the in broad sense, comparison with movies, there is both mutual differences and commonality. The film is considered an art about time and space, that is, the use of Montecqi technique to cut and transform real -time space -time to give more possibilities in the field of time and space. As one of the poems, words are condensed and expressive The characteristics of jumping can be transformed in time and space in limited number of words without having to pursue the integrity and continuity of the story. French drama writer Marcel Maldam believes: "Because the movie screen contains various words and has various ideas extended, we should compare the language of the movie language with poetry." Chinese scholar Gu Sui also believes: "(Poetry) works are like making movies, and there must be editing in addition to the real things." The two pointed out the same work of poetry and film in artistic concepts, that is, "language" can use "language" to express time and space art and convey ideological feelings Essence Words are a kind of poetry. Due to the changes in the living environment and cultural context, modern general readers have some obstacles to understanding and appreciation of words, especially long tunes. Re -explaining the environment is a topic worth thinking and exploring. Therefore, this article selects the slow words of Liu Yong and Zhou Bangyan, who have a model of typhoon in the history of the word, as an example. From the perspective of the language of the movie, analyze the rules and aesthetic characteristics of the word body, so as to excavate its modern in modern times Artistic value and aesthetic significance.

1. Use of movie language in the word body

Movie is a narrative -based and time -consuming art. Its narrative function is usually through the mirror

To achieve the head, and as one of the elements of the lens, the choice determines the picture narrative method and story structure method in a sense. According to the different view distance, the scenes are divided into five types: vision, panorama, mid -view, close -up and close -ups. In addition, the lens can also be divided into long lens and short lens, fast lens and slow lens, subjective lens and objective lens, character lens and empty lens according to other classification methods. Rhythm and narrative rhythm. And the method of words, "The most important thing to organize the content of the content is the method of order, that is, the method of ordering the chapter."

(1) Mongolian

The fate of poetry is similar to the combination of the movie lens. The combination of the lens is the method of film composition, also known as Monter. Montech is the method of organizing various shots of a film in a certain order and continuation time. It can be classified in conjunction with specific words:

Psychological Montess. Refers to the psychological activity or mental state of the character directly and vividly, which is mostly related to memories, dreams, imaginations, etc. Such as: "Remember the Zeng Tong, Xilou Yaji, I want to hang up the poplar, and I still have a lot of gold. When I am back to the saddle, I am afraid of the depth of spring." "Thinking" is imagination, "fear" is worry, and several shots outline the psychological activities that the poet laments that it is difficult to survive and the time is difficult to leave.

Lyric Montec. After a narrative scene, properly entering the empty shot symbolizing emotional emotions is a way to create a poetic film. Such as: "Rely on the crisis and feel quiet. The concubine is heard, and the new sounds are full of ancient and modern feelings. After the cold sound of the distance, there were only countless greens and green mountains on the river bank towering, and they euphemistically expressed the deeper and loneliness and sorrow after the end of the song.

Parallel montage. Refers to two or more plot lines in parallel, describing separately, and finally unified in a complete plot structure. Such as: "Jade 啼 sells crying powder over there, here the wheels turn the intestines." The intestines are like rotation, and the second line is unified in the plot of the sibling.

Cross Montec. Refers to crossing two movements that occur at the same time in different spaces. Such as: "The autumn walls in the wall. Outsiders on the wall, the beautiful lady in the wall." Pedestrians who rushed on the crossbats contrast the pedestrian's thoughts.

Repeat Montec. Refers to the lens, scene or similar content representing a certain meaning at a critical time, constitutes emphasis to achieve the purpose of portraying characters and deepening themes. Such as: "Last night, 衣 如 如 如 如. Tonight, I also sleep with clothes." Time is different, and the situation is like the same, and the taste of the travelers and sleeping of Youzi and Sleeping.

Compared with Montec. Refers to the intense contrast between content or form of the lens, to produce the role of emphasizing and conflicting each other to express the content, emotions and thoughts expressed by the creator or strengthening. Such as: "Today, the golden house, the spring is in the peach branches. Unlike at the time, the small bridge rushed to rain and hated the two people." The "Liri Ming Gold House" and "Xiaoqiao Rain" point out the scene. The two very different situations form a clear comparison.

Metaphor Montec. Refers to a similar characteristic of different things, to arouse the association of the viewer, so as to appreciate the emotional color of the event. Such as: "Mo Dao does not eliminate the soul, the curtain rolls the west wind, and the man is thinner than yellow flowers." Essence

(2) collar word

The use of collar words in the words is particularly closely related to the chapter structure, and the grasp of collar characters helps understand the understanding of words. The collar words mostly appear in slow words, referring to one or two or three characters that have a stopped tone in the beginning of the word and sentence, and do not break the sentence. The role. The role of the collar word in the slow word is equivalent to the lens scheduling in the movie, which can achieve the free conversion of different scenes. Try a few cases.

The conversion of big scenes and small scenery. Such as: "Hurry up the road, and the smoke is full of smoke. The front -drive wind touches the ring, the frost forest, and the gradually consciousness of the bird." "Frost Forest" and "living bird" are small scenes, "passing" is the collar word, and the large environment of the body is cut into the small scenery along the way.

The conversion of close scenes and vision. Such as: "Plum blossoms are cold -resistant, and pavilions come to the ice tray. For Qianshan Hengsou, the clouds change the color, and look at the cup and look for a high place." Qianshan Yokohamu, sad clouds change color "is a long -term view," right "is the collar word, from the things in front of the eyes to the distant scene.

The conversion of virtual scenes and real scenes. Such as: "I want to cover the Liu Guard, the flowers of the flowers, Fenglou Long Pavilion. The pearls in front of Wanshi Mountain, the singing of the punching hall. Today, the iron hoof is full of the suburbs, the wind and dust." "))," Flowers cover Liu Hu, Fenglou Long Pavilion. Wan Sui Mountains in front of the mountains and greens, the singing of the Shengpu Palace of Penghu "is a virtual scene," iron hoof is full of suburbs "is real scene," thinking "and" to "are The collar word, one brings memories back to the past, and one has pulled thoughts to the present, playing the comparison of the past and the past.

Second, Tuntian path and time and space order structure

Below the works of the two poets of Liu Yong and Zhou Bangyan as an example, an analogy analysis of the layout of the plot in the words and the time and space structure of the movie, or can experience the unique artistic style of the word body.

In the history of the word, Liu Yong is the first person to create a large number of slow words. The main contribution of the artistic structure is to absorb and learn from the method of reference to create a kind of "spreading and spreading" chapters. Essence The Qing Dynasty Shen Xiong summarized the creative path of Liu Yong's slow words in the word "Tun Tian Tong" in "Ancient and Modern Ci Words and Words". The "Tunian Tun" corresponding to the time and space structure of the film and space is the sequential structure of time and space, that is, the main form of the early development of the film art history. It belongs to the traditional narrative method. " The development of the incident is in order and has a strong narrative. "Taking Liu Yong's" Eight Sound Ganzhou "as an example, Liu Yong's" Eight Sound Ganzhou "is used in conjunction with the structure of the film language:

For Xiaoxiao Twilight sprinkle the river, clean up the autumn. (Far view) Graduation and wind are tight, Guanhe is left out, and it is incapable of building it. (Mid -neighboring scene) is the red declining and decline, and the Hua Hua Huayi. (Nearly) only the Yangtze River water, speechless. (Vision+empty lens)

Can't bear to be upside down, looking at the hometown of the hometown, it is difficult to accept it. (Psychological) Sighing the traces of the past, what is drowned. (Psychological) I want to look at the Beauty Makeup Tower, mistaken for a few mistakes, and return to the boat. (Virtual writing lens) Contest to know me, leaning on the rod, Zhengzheng sorrows. (Reality lens+close -up)

This word expresses the sorrowful autumn of the poets, writing scenery on the film, and the end of the film is a masterpiece of blending the scene. Several collar characters have achieved the natural switching of Jingbie well. The film starts with the word "pair", and the feeling of opening up the eyes and the end of the world is the long -view lens; The camera was pulled to the neighborhood, and the three rows were approaching the layers, further setting off the desolate and small atmosphere; "right" narrowed the lens to the near -view and transferred to the protagonist's meticulous contemplation; The empty shot that cuts into the symbol of emotions belongs to the lyrical Monsochi technique. It contains the complex emotions of the hero's perceptual intersection. In the face of the speechless Yangtze River water, Shaohua's emotions have been born. The next film uses a psychological method. Ascending Linyuan was originally to see the hometown, and he was afraid that the thoughts could not be returned. Sub contradiction. "Thinking" and "Fighting for Me" have brought out the transition of virtual scenes and real scenes. Then he returned from the other party to himself, expressing the bitterness of the thoughts and the feelings of people.

According to the analysis of words, it can be seen that the rules of Liu Ci are just like the traditional movie language. The time narrative and spatial displacement are relatively single. The film is almost all memories and lyric, and the conversion of time and space is quite satisfactory. Zhou Zengjin's "Words of the Langu" concluded: "Liu Yingqing's words, hesitated to spread the scenes in a few times, or write a travel service, and then (film) to remember the old love, the injury is not the same, and it is the same. If you change less, you ca n’t take off your own loses. The humbleness of the word grid is not miscellaneous. "It is pointed out that it is the problem of a single and rigid content. In addition, Liu Yong's slow word sometimes has a complicated problem in the process of narrating the layers. Often "short -term president" (Zou Yimo's "Yuan Zhizhai Ci"), like the content of the movie is only enough Shooting a short film but deliberately filmed the growth film. Taking the two words "Feng Qiwu" and "Magnolia Slow" similar to the theme as an example:

Standing on the dangerous building, the wind is fine, looking at the chunxi sorrow, and the darkness. (Location+Vision) Grass -colored smoke light, who will be speechless. (Time+close -up)

It is going to drunk the sparse map, the song is the song, and the strong music is tasteless. (Psychological) The belt is gradually wider and never regrets it, and it disappears for Yi. (Close -up lens)

- "Feng Qiwu"

Standing on the dangerous building, at first glance, late in the late Qing Dynasty. (Location, time) Gradually dying, the rhyme of the wind, the creamy trees are red and sparse. (Vision) Yunyun. Seeing the new geese, Najia is not blocked. (Far View) Empty sorrowful autumn reads, and the intestines hate. (psychology)

The capital. Missing a tour, getting the past and moving. (Virtual writing lens) Think of wine to be a song, low pillow and lonely. (Virtual camera) Return. (Real shot) The point of condensation is concentrated, but the twilight is full of flatness. (Far view) Winning silently, with a lot of time. (Close -up lens)

- "Magnolia Lan Slow"

If you compare it carefully, you will find that there are many similar situations in the words and sentences of words: "Leaning on the Dangerous Tower" and "Standing on Dangerous Tower", "Being a Song of Wine" and "Reading the Song of Wine", "Grass -colored smoke light" and "but" but the sun is full of flatness "," Whoever is speechless will rely on the intention "and" win the silent quietness, the day is full of the sun "... Tune, the latter is a long tone. There are fewer scheduling in the median lens, from the perspective to the close scene, then from psychological to close -up, closely linked to "spring sorrow", that is, "acacia", but it is not broken. The truth is very white, and it is abruptly stopped during the climax. There are many people's imaginative space hidden in the limited shot. The long adjustment has increased through the scheduling of the lens, and the time and space are now in the past -now switching. The content seems to be fuller, but compared with the previous words Recalling the old love, the structure homogeneity is relatively serious. In the case of similar themes, it is not as simple and concise in the middle.

Excellent movies often do not have extra shots, and can use limited scene scheduling and lens to convey rich information and provide back space for the audience. The same is true of excellent words. It is implicitly condensed and expressed the most information with the least text. If you use a small order and medium to express the complete content, it is deliberately stretched into a slow word, which is often easy to be counterproductive. Therefore, Luo Yanlie believes that Liu Yong's words "only break through the barriers of traditional forms, but can not earn the restraint of traditional content, but write those scenes more detailed and implicitly." Because of this, when appreciating Liu Yong's slow words, in addition to the shortcomings that have always been criticized by "words", they should also pay attention to their problems with a single structure and complicated text. This is probably the evolution of the word body. Words gradually do not be the reason why the later poets write on the lyrics.

Third, halal paradigm and time and space staggered structure

Zhou Bangyan is also a poet who has made important contributions to the development of slow words in the history of words. The slow word structure is reborn from Liu Ci, and Liu Yong has developed Liu Yong as a narrative method, which further improves the artistic performance of the word words. Force, Xia Jingguan's "Reviews of Ci Ci" said: "Qi Qing has a straight place to narrate. Halal and special change, in one article, return to the loop, sing and sigh." The creative skills of words are summarized and created, forming their own characteristics and specifications. This distinctive and unique artistic style can be summarized as a "halal paradigm". The "halal paradigm" corresponding to the time and space structure of the film and space is a time -space staggered structure. This method is intended to break the natural order of real time and space. Organizing time and space, intersect and interweave the past, present, and future. "The jump in time and space has shortened the time span, bringing changes in the form of narrative and expansion of content, and has achieved unique artistic effects." "Building" as an example:

The water bath was cleared, the leaves were loud, and the sound of the lane mockery broke. (Time) Xianyi Lu, smiling and fluttering, provoking a light fan. (Virtual writing lens) People are quiet for a long time, and they do n’t sleep, and they will be more arrow. (Real shot) Sighing Nian Hua for a moment, people are thousands of miles today, dreams are far away. (psychology)

Saying empty, timid Qiong comb, and capacity sales gold mirror, gradually stained at time. (Virtual camera) The plums are 溽, the rainbow rain and moss are nourishing, and a dance red has changed. (Time) Who believes that he is boring for Yi, and then subt is subtly subtly and hurts Qian Qian. (Psychological) But under the shadow of Minghe, watch a few stars. (Vision)

At the beginning of the film, "Qing Chan" and "Horse Sound Breaking" indicated that the time was at night; Silver candle autumn light painting screen, light Luo small fan fluttering fluorescence ", indicating that the season is the late summer and early autumn, and the actor is a woman; "Arrow", the male protagonist appeared. After drawing this scene, this scene was a real shot. The last scene became the old -fashioned lens; a "sigh" came out of the male protagonist's emotions, and the acacia was difficult to solve the past. , Together with the series of lenses in front of them, constitutes psychological Montence. I changed my head and cut to the hostess side. "Speaking" indicates that it is a virtual shot, "Cleaning Joan comb, capable of selling gold mirrors, and getting lazy to dye when it is dyed." Missing feelings; "plum breeze, rainbow rain and moss, a dance red changes" through the changes in the scenery, "plum wind" refers to the wind of early spring, "rainbow rain" refers to the rain in early summer, It shows that the season is already in spring and summer, which does not correspond to the time of the film, indicating that the separation of the two places for a long time; The back and forth of the male and female protagonist's lens, uniformly in the plot of acacia between the two places, constitutes parallel montage. Shooting "but under the shadow of Minghe, watch the scarcity of scarcity", the scene is made, which corresponds to the film "People quietly night, not to sleep, and stand up to the arrow." Get rendering. Although Zhou's slow word has also been criticized by "short -term president", it is different from Liu's "unsurprising". In the technical film language, the narrative methods and editing skills are flexible and changeable. With the increase of lens switching and scene conversion frequency, the time narrative and spatial displacement are also increasing. Therefore To a certain extent, the complicated text is made up. Wu Zeng's "Being able to Change Zhai Man" has a record of Zhou Bangyan's expansion of the word: "Wang Duwei has" Remembering the Host "words: (slightly) Hui Zong likes his words, and he still turns his words and turns. In order to hate, it made Dasheng Mansion not to write. Zhou Meicheng increased his words, and the first sentence was named "Candle Shadow Shanding Red" cloud: (slightly). "The two words are as follows:

The candle shadow shakes red, Xiang Ye Lang, wakes up at first, and is lazy. (Time) Who is singing the Yangguan before, and it is far from hate the world. (Reality lens)

Helpless Yun Shenyu was scattered, with dryness, Dongfeng tears. (Nearly) After the Begonia opened, when the swallow came, the garden at dusk. (Empty lens)

——Wang Yan "Reminiscer the Older"

Fang flushed, Dai Mei Qiao Qiao Palace Makeup. (Close -up lens) Merry and spiritual spirit is all in the eyes of Jiao Bo. (Close -up lens) It has long been accustomed to heart. Xiang Zunqian and frequently Gu Yan. (Close -up lens) I thought of seeing several times, I saw it, and I was gone. (psychology)

The candle shadow shakes red, and the night has a short spring night. (Time) Who would sing Yangguan at that time, far from hate the end of the world. (Virtual camera) Squading Yunyun rains. Tears with stems and Dongfeng. (Nearly) After the Begonia opened, when the swallows came, the deep courtyard of dusk. (Empty lens)

—— Zhou Bangyan "Candle Shadow Shanding Red"

Zhou Bangyan is "increasing" the words of others. Song Huizong uses the original "not rich and turning to hate". Difficulty. The original work mainly wrote a farewell to hate. When everything was, Zhou Bangyan created the background of the male and female protagonists in the film. "A series of close -up lens" A close -up lens depicts the beauty and affection of the woman, which caused the male protagonist to "see a few times and see it and still rest." The film's farewell acacia made a pavement. Change the theme. Zhou Ci changed the original work "Xiang Ye Lang, awakened at first, lazy" to "Night Lan Drink Spring Festival Short". The loneliness of the later; the original work "Whoever sings the Yangguan" to "Who was singing the Yangguan at the time" was simply describing the situation in front of the eyes. It became memories, and the plot suddenly became twists and turns, and the lovesickness of the protagonist also hidden in it. The essence of the original work is retained. This "damage" once again demonstrated Zhou Bangyan's skillful use of the combination of virtual and real and time and space.

Although the narrative path of the halal words still follows a certain period of time, its space -time layout rely more on the image, which is different from the general narrative poetry. If you are intertwined, you ca n’t understand it with a little attention. Some are similar to the current conscious flow of movies, and at that time, there was a certain degree of advancement. This is the biggest difference between the halal words and the previous words. law. Chen Tingzheng's "Bai Yuzhai Words" pointed out the halal word "Interesting the words, and traces of melting, and people's suffering cannot be appreciated." One of the reasons for the disorder caused by text understanding is that the structure of the halal words is slightly complicated, and the signs of the emotional beating in the words It is often not easy to capture. Combined with film language analysis, it may be able to appreciate the mystery.

Conclusion

The arrangement of words generally has a strong sense of picture. The creation of Liu Yong and Zhou Bangyan's two homes just coincide with the characteristics of the film language. Today's poetry readers and creators can take these two as examples to from the new art theory.To understand the words more meticulous and profound, feel the structure and aesthetic characteristics of the word body, and appreciate the communication between different art forms.This is not only conducive to the visual spread of the word body, but also the transformation of the tradition of poetry and education in modern times, so that the excellent traditional culture of words has glowing a new vitality at the moment.

- END -