美国洛杉矶代写Assignment:节奏的场景

2017-11-23 12:59

一个例子是在快节奏的场景中，艾米丽带着盲人，告诉他她看到了什么。手持摄像机增加了场景的自发性，因为这是艾米丽突然决定帮助人们的过程。这个场景很快就结束了，让盲人站在那里欣赏刚刚发生的事情，手持的摄像机变成了一个空中的吊车，突出了那一刻的意义。在Mathieu Kassovitz的《La Haine》(1995)等电影中，手持摄像机是一种增加现实主义的技术，使这部电影看起来更具戏剧性。我觉得在Amelie，这种效果是相反的，因为手持相机没有被广泛使用，只有在兴奋和欢乐的时候才使用，比如在童话般的结局中，尼诺和艾米丽的最后一幕。而不是添加现实主义，手持式摄像机符合Jeunet独特的风格，并增加了电影的超现实主义。Jeunet成功地使用了大量的平移和跟踪，并增加了其他技术所建立的快速速度。在电影的很长一段时间里，有固定的流动动作，镜头围绕着角色，或者在镜头前俯冲。观众通常被放置在一个观察位置，摄像机站在距离动作的距离上。我们习惯了在电影中的惯例，但我们也习惯被邀请在适当的时候接近行动，例如，如果有一个重要的对话。天使爱美丽中有一些场合会比我们的行动,例如在封闭的咖啡馆,天使爱美丽建议乔其纱,约瑟夫喜欢她时,我们定位在一个角落在排椅,仿佛暗示我们偷听谈话。这在影片中增添了神秘感和神秘感。
美国洛杉矶代写Assignment:节奏的场景
 An example of this is in the fast paced scene where Amélie takes the blind man by the arm and tells him what she sees. The handheld camera adds to the spontaneity of the scene, as it follows Amélie’s sudden decision to help people. The scene is over very quickly, leaving the blind man stood appreciating what has just happened, and the handheld camera turns into a crane shot which swoops above, highlighting the significance of that moment. Often in films such as Mathieu Kassovitz’s “La Haine” (1995) the handheld camera is a technique which adds realism and makes the film seem much more dramatic. I feel that in Amélie, the opposite effect is achieved, as the handheld camera is not used extensively, and is only used in times of excitement and joy, such as the final scene of Nino and Amélie riding on the moped in a fairytale-like ending. Instead of adding realism, the handheld camera conforms to Jeunet’s unique style, and adds to the surrealism of the film. Jeunet successfully uses a lot of panning and tracking, adding also to the fast pace established by the other techniques. For long periods of the film there is constant fluid movement, with the camera circling characters or swooping over scenes. The audience is often placed in an observing position, with the camera standing at a distance to the action. We are used to this convention in film but we are also used to being invited to get close into the action when it is appropriate, for instance if there is an important conversation. There are some occasions in Amélie where we expect to be closer in to the action than we are, for example in the closed cafe, when Amélie suggests to Georgette that Joseph likes her, we are positioned in a corner behind the stacked chairs, as if suggesting that we are eavesdropping on the conversation. This adds an air of secrecy and mystery in the film.

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