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Text Chapter 131 Criticism of Hollywood!

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    Victor's article is a complete venting of pain, and he systematically writes out his understanding of movies. Of course, the theoretical basis is still the two famous theories in the history of movies - which also support modern movies.  Two theories of the Temple ¨C montage and long shots.  The article is sharp and well-founded.  "Movies have been around for decades. Whether in Europe or the United States, we seem to think that we have mastered all the truths and established a perfect model, but how many of us will seriously think about it?  , what is the movie, what is the nature of the movie? " "The greatest thing about the movie is to freeze time, no, to be precise, to carve time. It turns the great desire of human beings into a reality!  A perfect imaginary world, allowing time to be arranged and interspersed at will, displayed in front of us! The nature of movies is a powerful weapon for us to fight against time, discover truth, human nature, and explore the ultimate meaning of the world. It should not be exactly that!  Business should not be all about singing and dancing! It is a bomb, a trumpet, and a drumbeat of attack! " "The foundation of film is each shot, and the component of meaning between shots is montage!  People have gone further than us! Through montage, the narrative of the film has achieved great freedom in the use of time and space (you can jump from Paris to New York in space, or across time).  Decades later. Moreover, the juxtaposition and intersection of movements in two different spaces can create tense suspense, or express the relationship between characters in two places, such as a montage of lovers missing each other at different times.  Repeatedly depicting the connection between the character's past psychological experience and the current inner activities, this freedom of time and space allows the film to achieve the freedom of the novelist in expressing life, allowing the film artist to greatly compress it.  Or extend the actual time in life to create the so-called 'movie time' without giving people the feeling of violating the actual time in life. " "The combination of the two shots will create new meaning, creating one plus one.  The effect is greater than two! This is the charm of movies! In this sense, montage is the life of movies! Based on this, all creations of movies should explore new construction methods as much as possible.  Two shots, but should be extended to the narrative structure of the entire movie! The greatness of "Citizen Kane" is that it not only breaks through the traditional montage construction, but completely breaks the traditional Hollywood model in structure.  The use of a multi-narrative structure maximizes the interpretation of shots and stories! "It's perfect!" "If montage relies on editing between shots, then long shots make the movie in another way.  It creates a poetic feeling! Through a long shooting time, one scene and one scene are shot continuously to form a relatively complete shot sequence. The long lens does not interrupt the natural process of time and maintains the uninterrupted nature of the time process.  - Consistent with the actual time and process, it eliminates the possibility of montage compressing or extending the actual time through lens cutting. The space represented by the long lens is the real space that actually exists, and the natural transformation of the space is achieved in the movement of the lens.  The connection with the whole eliminates the possibility of montage shots to piece together a new space. ¡°It can be said that the role of long shots, like montage, is the two legs of modern film art.  Indispensable!  The greatest thing about Citizen Kane is the use of depth-of-field shots.  Welles used such shots perfectly and creatively. What other directors could take several or even a dozen shots to explain clearly, he did it in one shot, and the effect was far more shocking!  " "The greatness of Hollywood lies in its ability to tell stories.  But the saddest thing is that after creating various modes of storytelling, you just sit on your laurels and live in a dream without knowing anything about innovation. Look at your stories. You sing and dance, you live in a dream, they are clich¨¦s, the characters are stereotyped and stereotyped, and they taste the same.  !  This is the saddest thing and the most shameful thing as a filmmaker!  " "David Griffith has created a great Hollywood foundation for us, but you don't know how to keep pace with the times, blindly cling to the old, and suppress anything new when it comes out!  Hollywood, what's going on?  ?  " "Movies are almost half a century old.  Half a century is neither long nor short. We should inherit the good things, but discard the old things!  When the talking movies were born, you jumped out one by one, as if you were stabbed in the ancestral grave, and you were so angry that you were so embarrassed. But what was the result?  As a result, you can see that the addition of sound not only did not destroy the greatness of the movie, but actually made it a success!  " "We no longer need stick comedy. Mr. Chaplin's silent films and that kind of performance are great, but they have been out of date, and it's time."?It's time to say goodbye.  Nowadays, the various filming concepts pursued by everyone in Hollywood are really hard to say!  Mr. John Ford's western films have characters that are too rigid, with the good guys having one face and the bad guys having the same face; Mr. Hitchcock's movies have unparalleled suspense capabilities, but they have fallen into a self-contained and terrible form, blindly  Pursuing suspicion, forgetting the innovation of film art methods, and more importantly, giving up the greatest appeal of the film in pursuit of how to tell a good story; Mr. King Vidor¡¯s films have always been so polite, like an eternal film  Life experience of wearing a suit. When you are still wearing a suit under the hot sun, people will call you a fool!  Frank Capra, his movies are objective, adhere to ideals, and have strong artistic appeal, but they don¡¯t have any new construction methods for movies!  Like an old woman muttering to herself, unattractive" "It's time to say goodbye to the past!  Hollywood does not seek innovation, but is so conservative and suppresses new movies. There is only one result, and that is digging its own grave!  " "What is a modern movie!  ?  In a word, it is based on the montage theory and the long shot theory, and the greatest ideal is to carve time.  With the greatest purpose of infecting the audience, we adopt all new forms that keep pace with the times.  To complete the essential function of the movie!  This is the real movie!  ¡± ¡­ Victor¡¯s article links one link to another, vertically and horizontally, starting from the history of film development, and throws out the major theories in film history one by one. At the same time, he pays special attention to the use of cases, whether they are positive or negative examples. Use them all.  It¡¯s just right, especially the criticism of Hollywood¡¯s classic model and the criticism of Hollywood¡¯s representative directors. After this article was published in the "Hollywood Review", it immediately caused a hurricane in Hollywood and all filmmakers!  I was immediately involved in this huge criticism. At the same time, many major media such as the Los Angeles Times and the Washington Post published the full text of this article, and even many foreign media also published this article one after another.  Go back to your home country! Hollywood filmmakers have never faced such a lengthy, powerful, and profound criticism! This article was like a punch that hit Hollywood filmmakers hard.  Chaplin, Hitchcock and others immediately wrote articles to criticize Victor, but everyone can see that their articles are far from being a match for Victor in terms of theoretical level and objectiveness.  . Then, a group of people represented by John Ford, Kim Vidor, Frank Capra and other great directors also came forward and participated in this discussion in major media.  Start "Confession" "Mr. Victor Ferro's article made me extremely angry at first. In my opinion, he completely criticized the great Hollywood as worthless.  But after reading it carefully several times and thinking about it carefully, I blushed and stood up to review myself!  It¡¯s really time for Hollywood to change its look!  Mr. Ferro's criticism is true in every sense. If the film does not innovate in form and thought, then it will only be a dead end!  "¡ª¡ªJohn Ford. "I am extremely surprised that Mr. Ferro can write such an article at his age!  It can be said that this article will become a monument and a beacon in the history of film theory!  His discussion of montage, long takes, and the nature of film opened my eyes.  In fact, what he wrote has always been the thinking of many colleagues, including me. It¡¯s just that we are too concerned about the thoughts of the bosses above us, we are too timid, and we have too little courage to stand up.  Got it!  Mr. Ferro has set a shining example for us!  It¡¯s time for all Hollywood filmmakers with ideals to stand up!  ¡± - Frank Capra. ¡­With the support of this group of backbones, yes, this time the storm began to turn quickly, from criticizing Victor to a systematic and in-depth criticism of Hollywood¡¯s classic narrative model, and began to criticize all outdated Hollywood narrative models.  Fire things! These people are all old people with many years of shooting experience. They are very clear about the pros and cons of Hollywood movies, so the articles they write are just like daggers. At the same time, the montage and long shot theories have also become this group of people.  A great craze for innovation began to spread in Hollywood. Victor¡¯s article was like a torch pushed into a pile of dry wood, igniting a blazing fire on Victor¡¯s desk!  The phone calls were almost exploded. There were calls from reporters from all over the world asking for interviews, calls from Hollywood colleagues asking for communication, talk, support or abuse. There were also calls from a group of people led by Grant who wanted to establish a "Hollywood Film School".  Telephone¡­¡­    At this time, Victor simply left the office and hid in Los Angeles No. 1 Prison to continue filming his movie.  "Victor, it's so hard to find you! Hahahahaha." On this day, Orson Welles walked in cheerfully: "The scolding in your article was so comfortable! It was so enjoyable! It was so enjoyable!"  "You came here not just to tell me this, right?" Victor rolled his eyes at this guy.  "I want to discuss something with you." Wells sat down and became very serious instantly.  Victor felt uncomfortable: "What's the matter?" "If I said, I want to join your company now, would you agree?" Looking at Victor, Orson Welles said seriously.
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