英文翻译
\u6c42 \u82f1\u6587\u7ffb\u8bd1\u3002Could you please tell me how Maria finishes her homework without any help every day?
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She said she would not argue with her parents anymore\u3002
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Sergei at R26; M. Eisenstein (1898-1948) Film Theory and the rich literature is very difficult to find one of the most prominent or the most complete idea of his theory of self-cinema, and its richness and perfection of the other film directors difficult to challenge (at the end of this chapter we will refer to). However, in this system to extract the idea of a cross-cutting is not always so easy. The author would like to briefly address the "rational montage" (montage intellectuel) the concept, although the concept has worn-out cliches, it provides a comparison with the former two possibilities, because it provides the same question of another solution.The first difference lies in the fact that Bresson and维尔托夫first consider the movies are filming process, and consider Eisenstein put focus on editing steps, that is, images of organizational processes. The last century 20's, his montage theory of the basic shape, the period of the theoretical writings he rarely talked about filming movies. His thinking and we are talking about two different directors, put him in film shooting as the author (or artist) to maximize the master and the production of images, rather than shooting the scene, the scene scheduling (he does not believe that movies are being video down the drama), in accordance with his own argument, are the framework of the art of cinema that has created a meaningful picture. His theory applies to some of the clip bearing the subjective meaning of the screen, and on his description of the activities of the clip view, Eisenstein's idea and we have previously introduced the theory of several home movies The biggest difference is, he consider movies to be revealed are not the true significance.
The author at Eisenstein's theoretical system to extract the idea of him in 1929 appeared in a series of articles in [1] the main article include: published in the "beyond the stars" (Au � dela 'des e'toiles) on the " Prospects "(Perspectives, translated into French)," Movie Guide "(Cahiers du cine'ma) No. 215 on the" outside the framework of meaning "(Hors � cadre, translated into French)," Movie Manual, "section 273 and 274 on the "movie of the fourth dimension of space" (La Quatrie'me dimensionau cine'ma translated into French), published in Lausanne in 1989, "Eisenstein and Russian structures to send" (Eisenstein et le constructivisme russe, F. albay pull (F. Albe 'ra) a) to include the "movie theater forms of study" (Dramaturgie de la forme filmique, translated into French). [1], which runs through the article and he summed up the five-year movie creation and theory (shortly after he left Moscow for Paris and Hollywood, from where he brought back a new idea). Montage, as he will make the fourth dimension of space, namely the time activities. At this as the title of an article, a montage of Eisenstein and classification methodology, based on different relationships and different levels from simple to complex is divided into five categories:
Metrical montage: purely in accordance with the precise length of time editing the lens, which is one of the most easy way to handle this is just a passing Eisenstein;
Rhythm of montage: the former is more advanced, it is not easy in the time interval as the standard, but consider the audience to experience the length of time, such as a close-up lens and a panoramic camera and so long gives the feeling on the length of time that is not the same as of; Eisenstein consider the rhythm of the clip should be the actual feeling of the people for the criteria for the classification, rather than in accordance with a stopwatch to calculate the abstract;
Rhythmic montage: more complex, in addition to the original tempo has increased (or replaced, this author did not explicitly) the nature of another kind, but also with music terminology analogy: continuous lens (Eisenstein called Movie the "fragment") at a clip after "emotional quality", these lenses have a unity, are presented in the same mood, with a "mood";
Tune montage: the same style are refined. Eisenstein continue to use music to describe, a very complex way of editing, need to consider the mobilization of all the emotional factors, even the most minimal visual details. This is like our music section of the feeling not only from its tempo and rhythm, there are hardly aware of but for the color contrast of the "overtone" and "chord."
Rational Montage: This is a way to harmonize the transfer from the emotional to the rational line, a combination of the above-mentioned construction of the way, considering all levels of a number of conditions: the length of time, rhythm, emotional delivery, tone and color details, as long as it is a variety of subtle meaning.
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