What is the significance of the Three Uniforms to film and television?

a time, a place, an event.

this is the supreme law of classical drama aesthetics-"three unifications".

It's not easy to create an attractive drama or even a movie with a length of more than 9 minutes under such a simple structure. Only when a high-level script, a high-level director and a high-level performance are available at the same time can a high-level drama follow the classical "three unifications".

Looking back at the films in recent years, I have been deeply impressed by three rare films that create miracles from simplicity.

The first one is from Japan, "Like the Moon" (Like the Moon in Doubt).

When five men play a play, they know each other, know each other, doubt each other, contend with each other, fight with each other, and release each other ...

However, in this process, everything is subverted!

The five groupies I met online became the five most unexpected people:

Full self-confidence turned into infinite inferiority, and was immediately pushed back to the center of greatest happiness; The shy uncle is a stalker, but the stalker is a loving father; The thin man turned out to be fat; And that fat man, not handsome or wise, pulled his pants and turned out to be the fiance of his idol; Suicide turns into murder, then into an accident, and there are accidents in the accident ... With the development of the dialogue, the relationship between the characters is constantly changing and colliding, from beginning to end, without a moment's silence.

awesome!

the script is the highlight.

awesome!

the choreographer is the highlight.

awesome!

acting is the highlight.

A film made in strict accordance with the three laws can be wonderful. I think only American, French and Japanese filmmakers can do it in today's world.

The second film is an American movie, "He is from the Earth".

First of all, we should thank the United States for its powerful film and drama strength-several actors who have never met each other for nearly two hours in a small cabin, but they performed a film with dialogue as the main performance so perfectly!

when I classified the film, I classified it as "warmth and comedy". According to the usual classification method, it seems that it should be classified as "science fiction and disaster". However, I don't think this is a science fiction movie.

As the only sci-fi element in the whole article, an "old man" who has lived for 14, years is actually just a "key" and a "key man"-he makes the drama come true.

Let's see what kind of scene the playwright has created for us:

A group of on-the-job professors who are well-educated come from psychology, social history, biology, archaeology and religion ... What can bring such a group of people together and discuss the same problem seriously, speculatively and dynamically?

Of course it won't be a political study on Wednesday afternoon!

So there is a need-a key person, an old friend who is about to leave, and a person who has witnessed human history completely. A 14,-year-old "old man", only the existence of such a "man" can naturally and convincingly make all the scholars give full play to their strengths and torture all the mysteries in human history.

If you have enough knowledge to understand all the contents involved in the film, if you have enough level to think about all the questions raised by people in the film, and if you have enough understanding to understand the ingenious mapping and backchat of professors, you will find that it doesn't matter whether you are 14, years old or not. The important thing is: is what we know really what it is, whether it is true, whether it is unchangeable, true, reasonable and can stand the test?

this is not a movie to answer questions. On the contrary, it raises questions in almost all aspects. So, before you judge-if you have enough ability-study hard and think.

(The lovely female student in the film is not dispensable. She is the only important role that represents the new forces who are good at thinking, accepting and asking questions, and are still not bound by the inherent knowledge. )

finally, please allow me to seriously despise those guys who call this movie "nonsense flow"-just as they are only crazy about listening to "good days", once they hear Beethoven's ninth symphony, they can't wait to call it "noise flow"-of course, if they don't know the source, otherwise they must be crazy about the beauty of the symphony.

The third movie is from France, The Beehive (leopard hunting).

Those who think that a movie with 1, guns is necessarily better than a movie with 9999 guns will not agree with me. However, this is the most wonderful gunfight movie I have ever seen.

the beauty of this film is that it is full of tension.

Strictly speaking, the film is not carried out in absolute accordance with the "three unifications" (excessive dogma can only mean rigidity):

At the beginning, it is a wonderful outdoor scene, which explains the origin of characters and events.

After that, a group of soldiers, a group of thieves and two security guards were compressed in a warehouse by the extremely powerful "evil". There was no assistance, no hope, no compromise and no middle course, only suspicion and fear-either resistance or death.

this is what I call "tension"-an environment that people "have to" surround.

So, responsibility, ability, friendship, love, sacrifice, betrayal, despair, greed, ignorance, doubt, trust, wisdom, cowardice, ignorance, destruction, cruelty, barbarism, killing, madness, forgiveness, revenge … so many elements are compressed in such a narrow space. Once the fuse is lit, the explosion will be irreversible. Thus, all the virtues and meanness of human beings are displayed incisively and vividly in this small space.

In this environment, everyone in it has reached the personal "extreme": the cowardice of the small security guard, the wisdom of the old security guard, the professionalism, courage and firmness of the special forces, the loyalty of the thief boss, the revenge of the black woman, the ferocity of the gang boss, and the madness of the minions ...

All these are always interrogating our hearts: what is a truly noble sentiment?

In the repeated shocks, the film also gives the answer-sacrifice.

Compared with those so-called big productions piled up with money (our "national directors" follow suit and will never be content with others), those rigorous creations according to classical aesthetics can bring me indelible aesthetic enjoyment (mainland filmmakers, who is doing it? Who has the ability to do well? ）。 As mentioned in this paper, the "three unifications", as a dominant drama rule for thousands of years before the Renaissance, still exudes a magnificent light that cannot be concealed.

Appendix:

There are two statements about the origin of "Three Uniforms" that are not contradictory.

1,

Aristotle summed up the characteristics of ancient Greek drama in three unifications, namely, the consistency of time, place and performance. The plot of ancient Greek drama usually only happened in one day, and the location did not change. In the plot, there is often only one main line, and other branch plots are not allowed. The original intention of Aristotle's theory of "three unifications" is to describe an objective form, not to stipulate an ideal state. Not all ancient Greek dramas follow the rigid "three unifications", but this theory is applicable to most situations.

2,

"Three unifications" is a proper term of drama, which can also be called "Three unifications". It is a rule that European classical drama creation abides by. It stipulates that each play can only have a single storyline, and it takes place in one place and is completed in one day. During the Renaissance, the Italian scholar Caster Vitro put forward the idea of "one event, one whole day, one place" while expounding the theory of ancient drama in detail. Therefore, the law of "three unifications" was determined and influenced the classical drama in the 17th century. At that time, the "three unifications" were conducive to the concise and concentrated plot structure of plays. In the 17th century, the Frenchman Bovat pointed out that tragedy is an imitation of a thing and has a subtle effect when he mentioned the creation of tragedy in his The Art of Poetry. It should be enthusiastic and arouse feelings of fear and pity in people's hearts, instead of showing off rhetorical skills and making boring and cold comments. It should ask questions as early as possible, and don't be entangled and procrastinating. It should only show a story and be completed in a fixed place and within a day. This is the "three unifications", one of the most important contents of the classical drama creation law. This rule is the golden rule of classical drama creation, but its influence is not limited to classical writers.

since the establishment of classicism, stage art design has also followed the creative law of "three unifications". For example, French theatres and stages are set with unchanging palace scenery: the time is consistent, and the time distance between scenes is expressed by different lights.

In the 18th century, this drama theory was impacted by Romanticism in the wave of Renaissance, and lost its dominant position, thus making the drama situation more colorful. In the process, history will never forget a great name: Victor Hugo.

———————— Quoting from Tianya I hope it will help you a little.