The different ways used by Chinese and Western movies in presenting the same theme and the similar or different meanings expressed by them

Film Expression Movie Scenery Depiction plays on the landscape and various objects in the environment where the characters live. It expresses the temporal state and spatial characteristics of the characters' activities, is an important condition for creating a typical environment, and is an important aspect of screen modeling. Scenic description can be used to convert time and space. By describing the feelings and reflections of the characters on the scenery, it can express their feelings through the scenery, express and color the characters' ideological character and emotional color, and help to form the stylistic characteristics of the film. Scenery description should be from life, in line with the storyline and character development of the prescribed situation, with a specific era and a strong atmosphere of life. Movie detail description detail description is to express the object of the subtle part of the delicate description, is the work of the smallest unit of image portrayal, but only the meaning of the requirements without a unified amount of prescriptive. The characterization, development of events, typical environment, and thematic ideas in a film drama are all realized through many organically linked details. Details can carry all the functions of drama. All expressive elements in a film can become details through careful conception, such as sound details, character details, scenery details, object details, color details and so on. The details of life become the details of art, which must be processed and refined to become the details with certain significance. Movie detail description should be original, audio-visual and real and believable. Movie white drawing techniques White drawing is originally a technique of Chinese painting, that is, using ink lines to outline the characters and various features of the scene, highlighting its charm, without color or slightly light ink, to the image itself simple characteristics of the expression evoke the reader's imagination, to enrich the image. This technique is borrowed from the movie script writing, meaning that the movie script writing is impossible to do a long detailed description of the object, the use of white drawing techniques, can be succinctly and distinctly highlight the characteristics of the image shown. The movie symbolization technique is used in movie scriptwriting. Movie symbolism is an artistic technique by which the screenwriter depicts the image of a certain play and implies abstract connotations such as concepts, thoughts and feelings that go beyond the figurative. From the perspective of image composition, those artistic elements that belong to the overall conception of the film or always belong to the plot itself, in addition to their direct significance, but also implies a broader meaning (such as concepts, ideas, feelings, spirit, etc.), which is the image of the film symbol. Film's image symbols are divided into two categories: realistic symbols and symbolic symbols. From the point of view of the composition of the comprehensive artistic elements of the movie, there are four basic categories of symbolic images depicted by the symbolic method: 1. Visual symbolic image. Mao Zedong and Zhou Enlai in the movie "Armageddon" discuss the war while pushing the mill, which is a symbol of pushing the wheel of history; the braid of Silly Two in the movie "God's Whip" is deliberately emphasized as a symbol of a certain traditional culture and spirit; and in the movie "The Girl in the Red Coat", An Ran's shape of wearing eye-catching red clothes is a symbol of the character's openness and upward spirit. 2. Auditory symbolic image. In the film "Night Wagon", when Zhan Yihong is approaching to Morgenthau, the roar of the train symbolizes the righteousness of the nation. 3. Audio-visual symbolic image. The visual image of the unicycle and the auditory image of the train's roar at the end of the movie The Sound of the Countryside symbolize the conflict between the old and the new and the inevitability of the historical trend. 4. Narrative symbolic image. It mainly refers to the symbolization of plot and details. There are global and localized ones. The movie "The Old Well" constitutes the overall symbol of the movie with all the plot narratives - the unceasing and tenacious will to survive of the Chinese nation. In The Old Well, the detail of Wang Quan emptying the urinal after his marriage appears three times, symbolizing that he has finally integrated into the tradition. Movie grotesque refers to the way of portraying people, events, objects and scenes in a movie drama, using all sorts of weird and bizarre, unconventional, abnormal deformation, extreme exaggeration and other ways of portrayal. The grotesque technique gives people a sense of novelty and excitement, which can arouse their interest and deepen their impression. However, the depiction of the grotesque is not an end in itself, but the purpose is to reveal the psychological activities of the characters through the grotesque, to reflect and expose the different levels and essence of the social life, and to express or deepen the theme, and so on. Although the grotesque does not conform to the surface phenomenon of life, it conforms to the reality of art. The use of grotesque techniques can be integral to the whole drama, or used only partially in the drama, or used crosswise with realistic techniques. Cinematic realism is a method of movie dramatization that seeks to portray objective reality realistically and truthfully. Objective reality is multi-dimensional, deep and dynamic, including historical and realistic characters, social environment, natural scenery and so on. Realistic approach requires the depiction of major historical events, various types of characters and social life style without artificial sculpture, the environment and details of the performance of realistic, fine portrayal of the attitude. There is a difference between realism and naturalism. Realism is opposed to the naturalistic approach to the mechanical photography of life, and requires artistic typicalization. The tone of a movie is originally a musical term that refers to the melodic variation or complete theme that runs through the entire musical work. The tone of a movie refers to the fusion of the penetrating meaning of the movie and the distinctive artistic tendency of the movie. It reflects the director's ideological tendency, emotional tendency, creative intention and artistic pursuit. The director often feels, captures and designs the tone of the movie according to the content of the performance provided by the literary script, the subject matter of the movie and the style chosen, and by relying on his own life experience, artistic feeling, as well as his discernment and insight into the society. Each creative department decides its own creative tone based on the tone of the whole film determined by the director, such as acting tone, modeling tone, photography tone, color tone and so on. The tone of the film is ultimately expressed through the medium of rich scenic modeling elements and sound modeling elements, which appear in the main stylistic features and artistic characteristics of the film. Screen effect is the emotional reaction caused by the artistic image on the movie screen to the audience's psychology. The screen image is composed of visual image and auditory image, so the screen effect is also called "audio-visual effect". The combination of the picture and sound elements of a movie complements each other, stimulating the audience with richly varied movements, sounds, colors, moods, rhythms, and allegories to produce a rich screen effect. Screen effect is a special and complex visual and audio stimulation effect. Regardless of the visual effect, auditory effect or audio-visual combined effect, there can be two basic situations: one is through the intuitive audio-visual modeling stimulation, resulting in a direct screen effect, including triggering the audience's various associations; the other is through the indirect audio-visual modeling stimulation, a lot of mobilization of the audience's imagination to produce indirect screen effect. Screen modeling movie art comprehensive performance appearance elements. Different from the static space modeling art, screen modeling is a combination of time and space movement modeling, but also a combination of sound and picture modeling. In this comprehensive modeling of sound and painting, time and space movement, there is a rich artistic language and way of expression. Movie is a comprehensive art of collective creation, and all the creative members are the creators of screen modeling. Comparatively speaking, each department can only play a role in a certain aspect of screen modeling, and it is only through the organic combination of the creation of each department that a complete screen modeling can be formed. In the final analysis, this group creation is still based on the director's overall conception, therefore, the director has the main responsibility for the quality of screen modeling. The main results of the director's work are also shown in the screen modeling. Rhythm is one of the most important aspects of cinematic art. Rhythm is the synthesis of all the elements in the art of film and the effect it produces on the physiology and psychology of the audience. Rhythm in the movie is expressed in the flow of time, in the movement of space, and in the synthesis of time and space. The rhythm of the film is not simply the performance of artistic skills, but according to the needs of the plot, characterization needs, the overall grasp of the film, the results of the comprehensive use of film means, is the rhythm of the dialectical unity of the composition of the local and the composition of the whole. The rhythm of the film exists in the play, in the director's overall conception and in the subplot, permeated in the performance, modeling, sound, photography, art, editing and other artistic creations, forming the rhythm of the plot rhythm, modeling rhythm and other rhythmic aspects. As the chief designer and conductor of the movie, the director plays a decisive role in the embodiment of the movie's rhythm and the creation of the movie's rhythm style. Rhythm is fundamentally a manifestation of artistic emotion. The physical form of rhythm is movement, and its psychological root is the artist's special means of expression through the movie in the work of a certain intensity of emotional pulse, and triggered the audience's emotional shock or **** song. People often take speed as the only form of expression of rhythm, to fast, slow to measure the rhythm, but speed is not equal to rhythm. Speed rhythm is just a kind of rhythm. Measurement of rhythm, not only the length of the shot, but also sound, line, color, shape and other artistic modeling factors such as regular movement changes (high, low, strong, weak, tension, relaxation, ease and so on), as well as their physiological feeling caused by the appreciator's condition. Rhythm is the unity of subjective and objective, psychological and physiological. The infinite richness of the connotation of movie performance, the infinite possibilities of the means of movie performance and the complexity of the audience's acceptance of psychology determine the infinite diversity of the form of rhythm and rhythmic changes of the movie internal rhythm due to the plot development of the internal contradictions and conflicts, the character's emotional ripples, and other elements of the content of the formation of the rhythm. An important aspect of internal rhythm in a movie is the inner tension of the actors' performances and the emotions of the characters played by the actors, which are closely integrated with the scene scheduling and montage techniques. External rhythm is generated by the movement of all the subjects on the screen, the various lengths of the shots and the various ways of changing the shots, as well as the speed and light, color, and the changes in various forms of the screen. The external rhythm performance is sometimes consistent with the internal rhythm, sometimes not, and can even do the exact opposite performance. Submission to a unified artistic conception. The Kulishov EffectSoviet film director Lev. The Soviet film director Lev Kulishov made a famous experiment in shot-cutting in order to clarify the juxtaposition of montage. He gave the famous Russian actor Moz Yushin shot a close-up without expression, respectively, connected to a pot of soup, a game of children and an old woman's body in front of the camera, surprisingly, he found that the audience saw the actor's "performance", that is: to see the soup when the performance of the hunger, to see the child when the performance of the joy, to see the old woman's body when the performance of the sadness. The old woman's body shows sadness. In fact, it was the combination of the shots that made the audience make the association. From this experiment, Kulishov concluded that it is not the content of a single shot, but the juxtaposition between several images that causes the emotional reaction of a movie, and it is the role of shot grouping and editing. This is known as the Kulishov effect. Subjective lens will be the lens of the movie camera, as the eyes of a character in the movie, to watch (filming) other characters, things active scene, that is, subjective lens filming. This represents a character in the movie line of sight of the lens, called the subjective lens (narrow subjective lens). Subjective shots also include the director's subjective comments on the views and subjective feelings and emotions of the lens (broadly speaking, with a strong subjective expression of the color of the lens). There is no purely objective lens, there will not be purely subjective lens, subjective lens is always in the objective lens performance. For example, such a typical Hitchcock-style subjective lens performance: the character's head is injured, blood flowing down, gradually covering the line of sight, blood covered the screen, is a subjective performance, but it can not leave the character injured in this objective process. Subjective lens performance is more complex than the objective lens performance, there are varied modes of utilization. Such as reactive subjective lens, imaginative subjective lens, multi-perspective subjective lens, multi-level subjective lens, approximate subjective lens. Objective lens generally refers to the camera using the majority of people in the shooting scene **** have the point of view of the shot. This kind of lens in the screen intuitive effect can make the audience produce *** with the sense of presence, to achieve the purpose of objective performance. Objective lens objectivity includes two layers of meaning: first of all, it refers to the objective reality of the object itself, that is, the art of reproducing the authenticity of the content of life. This is usually the director in the use of traditional realism in the creation of methods required and abide by. For example, many of the events, environments, characters and other life images shown in films such as Man in Middle Age require the reproduction of life's authenticity, i.e., the visibility of the life reflected by art; the second refers to the objective descriptiveness of the object. This kind of objective descriptiveness has its inevitability no matter in the real life film or in the fairy tale film, mythological film, absurd film. For example, the performance of various events in the movie Journey to the West is the place where the objective lens is used. The purpose of the objective lens is to guide the audience to view whatever layer of meaning of the screen performance, have the objective reality of the situation, so that the movie to achieve the purpose of narrative and description. Ultimately, they are inevitably permeated with the thoughts and feelings of editors, directors and photographers. Empty shots, i.e., scenes without characters. It is an important means for the director to elaborate the content of ideas, narrate the storyline, express the emotional mood, convert the screen time and space, and regulate the rhythm. There are subjective empty lens and objective empty lens two categories. Subjective empty lens is in the eyes of the characters, psychological and deliberately rendered scenery and feeling, objective empty lens is the objective performance of the environmental scenery as well as the scene of the scene, it requires the scene performance of the real real nature. Time-shift techniques used in the movie to show a certain amount of time, space, lens or paragraph changes to create a variety of artistic effects. Common time-shift techniques include: the use of fading, fading, the traditional optical techniques, such as the paddle, in the two shots or paragraphs inserted between the scenes that can show the time, the season, the location of the scene changes; the use of subtitles and paintings to illustrate the change of time and place; no skill editing, that is, the use of the screen content itself is directly converted without the use of additional optical techniques to show that the time-space transition, the division of time-space paragraphs. Fade in and fade out, also known as "fade in and fade out", "fade in and fade out". One of the traditional editing techniques. The traditional means of expressing time and space interval in movie art. Its conventional form of expression is: the picture of the previous scene gradually darkened until completely disappeared (fading), the picture of the next scene gradually revealed until very clear and bright (fading). This technique shows the end of a plot (paragraph) and the beginning of another plot (paragraph), leaving a certain interval, so that the audience in the sense of the paragraph to get a short break, from the progress of the plot. And can show a certain mood and rhythm. Cut "switch", that is, "cut out, cut in" short. It is a tactless editing technique. It has gradually become one of the most basic camera transitions in movies. Refers to the use of any optical skills such as chemical, scratch, fade and so on as a transition, but directly from a lens into another lens or from a scene into another scene in order to ensure that the lens switching smoothly, in line with the artistic logic and to adapt to the general psychology of viewing, in the creation of the editing, we must grasp the rhythm of the film and accurately grasp the lens to cut the cut point. Also known as the "out of, into", "dissolve, dissolve into". One of the traditional editing techniques. Movie art performance of the traditional means of time and space transition. Its conventional form of expression is; the former picture gradually hidden (into, dissolve) before the latter picture is gradually revealed (into, dissolve), the two images at the same time overlap the hidden, until the latter picture is completely clear. There are many functions of "化", such as: to play the role of space-time transition; can be simple to show a large space-time transition; often used to show the character's imagination, dreams, memories, etc., to directly convey the mood; in the case of close space-time distance, the continuous use of "化", the transition lens In the case of close time and space distance, the continuous use of transition shots can produce a lyrical, slow and soft effect; in mythological films used to achieve the special viewing effect of "deformation" and so on. Overprinting is a unique form of movie language. One of the techniques of movie editing. Overlap two or more different time and space, different scenes or characters in the picture, copy in a film, that is, overprinting. At the same time, the content of the superimposed images must maintain an intrinsic connection between them to form the various meanings of the superimposed images. Some films also use overprinting to synthesize the opening credits or singing subtitles with the picture. Scratch is also known as "scratching out, scratching in", "scratching over, scratching change". One of the traditional movie editing techniques. In order to realize the picture articulation of a technique. The form of expression is that the latter lens from the previous lens screen to do left and right scratch, right and left scratch, up and down scratch, diagonal scratch, prismatic scratch and so on. Contemporary movies, this technique is less often used, but in order to strengthen a certain visual effect or create various other artistic effects, this technique is still sometimes used, and pay attention to the novelty. Jump cut is a kind of "cut". Belongs to the tactless editing techniques. It breaks the conventional state of the lens switch followed by the space-time and action continuity requirements, with a large jump in the lens grouping, highlighting some of the necessary content, omit the space-time process. Jump cut both to the plot content of the internal logical connection based on the audience to appreciate the psychological mobility and coherence based on the exclusion of the lack of logical random grouping. Flashback usually refers to the insertion of another scene or fragment in a certain scene structure. Flashback can be a fragmentary narrative technique of a movie, or it can form the structure of the whole movie, i.e. the flashback structure of the movie. In terms of content, the content of a flashback is usually a flashback to the thoughts or memories of a character in the previous shot. It can be emotional or narrative; it can be longer, or it can be an instantaneous realization of the performance, the purpose is to make the audience feel more clearly the thinking and emotions of the characters and understand the original cause of the matter. Work dailies for each filming workday to shoot a good negative printed out a positive film, that is, for the work dailies. For the creative team and the person in charge of the plant for review. In the work of the dailies have not been reviewed and approved or the need to reshoot before, all the sets and shoot the scene of the various settings shall not be removed. In post-production, the work dailies for the director and editing trimming, grouping shots, but also for dubbing, mixing recordings, but also for the final review of the film, and finally as a basis for the completion of the film set. Work dailies are valuable information and require careful storage. Double film is "finished double film" and "mixed double film". By the completion of the editing of the work of the dailies and mixed recording of the magnetic sound tape after the composition of the two parts. The purpose of the duplex is to facilitate revision after hearing the review comments. Unlike an official print, it must be projected through a synchronized sound and picture projector in order to achieve the effect of sound and picture synthesis. After the review and modification, after the picture sleeve, the mix tape into optical sound tape, you can print the official copy.