研究生专业英语-3第三讲-Photography.ppt

,单击此处编辑母版标题样式,单击此处编辑母版文本样式,第二级,第三级,第四级,第五级,*,单击此处编辑母版标题样式,单击此处编辑母版文本样式,第二级,第三级,第四级,第五级,*,第三讲,Photography,The Angles,The Angles,The,angle,from which an object is photographed can often serve as an authorial commentary on the subject matter.,If the angle is slight,it can serve as a subtle form of emotional coloration,（,着色、染色,）,.,If the angle extreme,it can represent the major meaning of an image.,The Angles,The angle is determined by where the camera is placed,not the subject photographed.,A picture of a person photographed from a high angle actually suggests an opposite interpretation from an image of the same person photographed from a low angle.,The Angles,The subject matter can be identical in the two images,yet the information we derive from both clearly shows that the form is the content,the content the form.,Film realists tend to avoid extreme angles.,The Angles,Eye-level shots,are seldom intrinsically dramatic,because they tend to be the norm,（,规范，基准,）,.,Virtually all directors use some eye-level shots,especially in routine exposition,（,博览会、阐述,）,scenes.,The Angles,Formalist directors are not always concerned with the clearest image of an object,but with the image that best captures its essential nature.,Extreme angles involve distortions.,Yet many filmmakers feel that by distorting the surface realism of an object,a greater truth is achieved a symbolic truth.,The Angles,Both realist and formalist directors know that the viewer tends to identify with the cameras lens.,The realist wishes to make the audience forget that theres camera at all.,The formalist is constantly calling attention to it.,The Angles,As in the case of shot designations,there are many intermediate kinds of angles.,For example,there can be a considerable difference between a low and extreme low angle although usually,of course,such differences tend to be matters of degree.,The Angles,Generally speaking,the more extreme the angle,the more distracting and conspicuous,（显著的）,it is in terms of the subject matter being photographed.,The,birds eye view,is perhaps the most disorienting angle of all,for it involves photographing a scene from directly overhead.,The Angles,In effect,birds eye shots permit us to hover above a scene like all-powerful gods.,The people photographed seem vulnerable and insignificant.,Ordinary,high-angle shots,are not so extreme,and therefore not so disorienting.,The Angles,High angles reduce the height of the objects photographed and usually include the ground or floor as background.,Movement is slowed down:the angle tends to be ineffective for conveying a sense of speed,useful for suggesting tediousness.,The Angles,The importance of setting or environment is increased:the locale often seems to swallow people.,High angles reduce the importance of a subject.,A person seems harmless and insignificant photographed from above.,This angle is also effective for conveying a characters self-contempt.,The Angles,Ozu treated his characters as equals;his approach discourages us from viewing them either condescendingly,（,有优越感的、居高临下的,）,or sentimentally.,For the most part,they are ordinary people,decent and conscientious.,The Angles,But Ozu lets them reveal themselves.,He believed that value judgments are implied through the use of angles,and he kept his camera neutral and dispassionate.,Eye-level shots permit us to make up our own minds above what kind of people are being presented.,The Angles,Low angles,have the opposite effect of high.,They increase height and thus are useful for suggesting verticality,（,垂直性,）,.,More practically,they increase a short actors height.,Motion is speeded up,and in scenes of violence especially,low angles capture a sense of confusion.,The Angles,Environment is usually minimized in low angles,and often the sky or a ceiling is the only background.,Psychologically,low angles heighten the importance of a subject.,The figure looms,（,可怕地出现,）,threateningly over the spectator,who is made to feel insecure and dominated.,The Angles,A person photographed from below inspires fear and awe.,For this reason,low angles are often used in propaganda films or in scenes depicting heroism.,The Angles,This angle is sometimes used for,point-of-view shots,to suggest the imbalance of a drunk,for example.,Psychologically,oblique angles suggest tension,transition,and impending movement.,The natural horizontal and vertical lines of a scene are converted into,（,convert into:,转化成,）,unstable diagonals,（,diagonal,：斜的、对角线的,）,.,The Angles,Oblique angles are not used often,for they can disorient a viewer.,In scenes depicting violence,however,they can be effective in capturing precisely this sense of visual anxiety.,Bonnie and Clyde,(U.S.A.,1967),Bonnie and Clyde,(U.S.A.,1967),Because we tend to associate light with safety,high-key lighting is generally nonthreatening and reassuring.,But not always.,Bonnie and Clyde,(U.S.A.,1967),We have been socially conditioned to,（,be conditioned to:,习惯于，以,为条件,）,believe that danger lurks in darkness,so when a traumatic assault takes place in broad daylight,as in this scene from,Bonnie and Clyde,the effect is doubly scary because its so unexpected.,The Lives of Others,(Germany,2006),The birds eye angle positions the camera directly above the subject matter,looking downward.,This Oscar-winning movie is set in Communist East Germany during the 1980s.,The Lives of Others,(Germany,2006),A surveillance,expert spies on the lives of a playwright(Koch)and his actress girlfriend(Sieland)to gather evidence against them as enemies of the state.,Note how this angle,with its fatalistic implications,seems to pin the characters down like specimen insects,rending,（,rend,：撕裂、分离,）,them vulnerable and dominated from above.,The Texas Chainsaw Massacre:The Beginning,(U.S.A.,2006),The Texas Chainsaw Massacre:The Beginning,(U.S.A.,2006),Low angles can make characters seem threatening and powerful,for they loom above the camera and us like towering,（,高耸的、卓越的,）,giants.,We are collapsed in a position of maximum vulnerability pinned to the ground,dominated.,The Texas Chainsaw Massacre:The Beginning,(U.S.A.,2006),The feeling of menace is reinforced in this shot by the closed form of the composition,the drained color,and the sinister backlighting,throwing the characters face in shadow.,The image might almost be entitled:No Exit.,Batman Begins,(U.S.A.,2005),Batman Begins,(U.S.A.,2005),The photo from,Batman Begins,is an extreme low-angle shot,taken from the ground floor of a multistoried building.,Batman descends from above,like an ebony-winged,（,ebony:,乌木、黑檀木,）,god from the heavens.,Batman Begins,(U.S.A.,2005),As in the most extreme angles,the content of the shot is transformed into an almost abstract design,forcing us to adjust our spatial orientation.,This shot is deliberately meant to be disorienting.,How Green Was My Valley,(U.S.A.,1941),How Green Was My Valley,(U.S.A.,1941),Lyricism,is a vague but indispensable critical term emphasizing emotional intensity and a sensuous richness of expression.,Derived from the word,lyre,a harplike stringed instrument,lyricism is most often associated with music and poetry.,How Green Was My Valley,(U.S.A.,1941),Lyricism in movies also suggests a rhapsodic（狂想曲的）exuberance（丰富、茂盛）.,Though lyrical qualities can be independent of subject matter,at its best,lyricism is a stylistic externalization of the scenes emotional content.,How Green Was My Valley,(U.S.A.,1941),John Ford was one of the supreme masters of the big studio era,a visual lyricist of the first rank.,He disliked overt emotions in his movies.,He preferred conveying feelings through forms.,How Green Was My Valley,(U.S.A.,1941),Stylized lighting effects and formal compositions such as this invariably embody intense emotions.“Pictures,not worlds,should tell the story,”Ford insisted.,12 Angry Man,(U.S.A.,1957),12 Angry Man,(U.S.A.,1957),Sidney Lumet has always been a director whos acutely aware of how technique can shape content.,He insists that technique should be the servant of content.,Most of this movie takes place in the confined quarters of a jury room,as twelve male jurors try to come to a decision about a murder trial.,12 Angry Man,(U.S.A.,1957),“As the picture unfolded,”Lumet has written,“I wanted the room to seem smaller and smaller.”,As the conflict between the jurors grows more intense,Lumet shifted to increasingly longer lenses,thus reinforcing the sense of entrapment.,12 Angry Man,(U.S.A.,1957),His strategy also included a gradual shift in angles:,I shot the first third of the movie above eye level,and then,by lowering the camera,shot the second third at eye level,and the last third from below eye level.,12 Angry Man,(U.S.A.,1957),In that way,toward the end,the ceiling began to appear.Not only were the walls closing in,the ceiling was as well.The sense of increasing claustrophobia,（幽闭恐惧症）,did a lot to raise the tension of the last part of the movie.,12 Angry Man,(U.S.A.,1957),See also,Making Movies,by Sidney Lumet(New York:Vantage Books,1996),one of the best practical discussions of how big budget movies are actually made,including the commercial as well as artistic issues involved.,The island,(U.S.A.,2005),The island,(U.S.A.,2005),Oblique angles,sometimes called“Dutch tilt”,（,Dutch tilt angle,：荷兰跳摄角度,）,shots,photograph the subject with the camera leaning to the left or right.,The island,(U.S.A.,2005),In this shot,for example,the left-leaning camera converts the vertical post(and Johanssons body)into tense diagonal,（,斜的，对角线的,）,shapes,thus emphasizing the urgency of the terrified runner.,