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Akira Kurosawa, known as the Emperor of Japanese Cinema, has a considerable influence in the history of cinema, and he is also the first director to promote Japanese cinema internationally, winning the admiration of audiences with popular plots, profound issues and exciting scenes. In the era when there was no perfect special effects skills, director Akira Kurosawa used a simple pipeline in "Pile Thirty Lang" to shoot the brilliant blood spray shots of the protagonist Toshiro Mifune in the way of soil steelmaking, and it took a total of 132 times to have such a perfect movie picture. And the bridge section that pierces the king in "Spider's Nest City", and the almost invisible splicing point makes Akira Kurosawa a great master admired by contemporary film masters.
Last time we introduced Akira Kurosawa's Seven Samurai (sending "Akira Kurosawa" has a relevant push, and analyzed the essence of this scene from the lens language and editing techniques. Like the action scenes of other films, the continuity of the character and camera movement is very important to convince the audience, Kurosawa Akira used multiple cameras when shooting large scenes, capturing the focus of the fight from different angles, with the lens that quickly changes the perspectives, in addition to making the continuity of the picture more smooth, but also making the audience feel in it when watching. In some specific scenes, Akira Kurosawa uses the long-range view to ease the original tense atmosphere slightly, and there are also some handheld cameras that move with the movement of women and samurai, bringing out the rapid emotional changes of the characters in the plot.
Godard's Jump Cut
Although there are some established formulas and rules in the lens language, such as the 180-degree line of the front and back shots, the mutual exclusion of the connection between the motion shot and the still shot... And so on, many directors still have the courage to challenge the standard editing method. Back to the French New Wave important figure Godard's New Wave masterpiece "Exhausted", Godard broke the continuity of editing to connect two seemingly identical shots together, or cut a long shot from it (this is called jumping cut), the audience will obviously feel the picture "jumping" when watching, such a editing technique has affected many film creators, the most obvious example is the ghost that suddenly appears in front of you from a distance in the ghost film.
A director who uses photographic stunts on a film
Looking back at the history of cinema, Mérière's famous work "Journey to the Moon" discovered this secret of the film as early as 1902, and he used the technique of stopping and reshooting, using multiple exposures to use the use of painting and black backgrounds, which constituted the initial factors of modern film technology, and shaped the film into the best communication medium for magic and magic. Of course, this also has a considerable relationship with the shooting technology at that time, because the risk of shooting with negative film is very large in the era when technology is not yet perfect, and there are often incomplete, excessive or too little exposure, and even the fracture caused by the process of dismantling, which will make the shooting image incomplete, but this has also become a source of imagination for film creators.
The first director to use montage in film
Some filmmakers have also developed a splicing system from this experience, such as griffiths, the inventor of parallel montage, who cut together what happened in different spaces at the same time, allowing the audience to get more into the events that are happening in the movie while watching. His masterpiece Birth of a Nation captures the actors opening the door and a group of people catching up behind them, a way we call parallel montages . In The Intolerance Trilogy, he also cross-edited the stories of four different time and space, which is also regarded as one of the most important films in the history of cinema.
The Kuryshov effect
Of course, there are also creators who put aside the storytelling, delve into the completely different meanings of different shots placed together, and play montages to the extreme. Soviet director Lev Kuleshov's famous montage experiment: the first combination is a close-up of Mozyusin followed by a shot of a plate of soup on a table. The second combination is that the shot of Mozyusin is closely linked to the shot of a female corpse lying inside a coffin. The third combination is this close-up followed by a little girl playing with a funny toy bear. Putting the above shots together in different orders to take on different meanings, Pudovkin once described the experiment as follows: "We selected several close-ups of the famous Soviet actor Mozyusin from a certain film, and we chose static close-ups without any expression. We connected these identical close-ups with small fragments from other films into three combinations.
When we showed these three different combinations to some audience who didn't know the secret, the effect was amazing. The audience greatly appreciated the artist's performance. They pointed out: "Mozyusin showed a pensive mood when he looked at the plate of soup that had not been drunk on the table; they were extremely excited by Mozyusin's look at the heavy and sad face of the female corpse; and they also appreciated Mozyusin's relaxed and pleasant smile as he watched the girls play." But we know that in all three combinations, the faces in the close-up shot are exactly the same. "This experiment seems to have opened up the second vein of the creators, and people began to understand how to use images instead of just dialogue and word cards to tell stories."
Summary: In addition to a good script and a director who can tell a story, another indispensable element of a movie is editing. From the past handmade Steelbeck editing table, operating linear 16 cm negative film editing, entering the digital age using non-linear editing of computers, until the emergence of computer animation and special effects, the technology of film editing has continued to advance with science and technology. However, the way and technique of editing still depends on the talent of the director, editor or producer, and every editing and every shot should have an ultimate purpose, to reconfigure and place seemingly unrelated shots, and the magic of montage can bring the audience a perfect visual feast. Inheriting the films created by the predecessors of the past films, the creators can explore the visual effects brought by the editing techniques, digest, integrate and produce their own unique styles.
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