Reflection of Week 4

In this week’s study, I have a deeper understanding of the film Beijing guidance and its meaning. You should know how the objective environment and pressure affect the physical and mental state of the character you play on each plot point in each scene. You have to ‘given the situation’ including who your character is, when, where, and what you are doing. They include physical and psychological characteristics, social conditions, special interpersonal relationships, and the values and moral stances of your role.

Generally speaking, during the rehearsal, your director will ask you questions about the background of the character from time to time. When encountering some unclear things, you always have to find the bottom line(Assouly. 2018, p. 17). Therefore, compile a biography for your character to support the illustrative but suggestive background story in the play. All the words and actions of your character are derived from the character’s past, whether it is recent or long ago. If these contents are not limited, you must compile a suitable short biography.

Next, in the processing of character actions and coherence, you will get a series of relationships between people and doors. The description of tags will help you find suitable actions for performing multiple shots of a shot. Keep the same in each shot, they will also better specialize the action and reveal the inner world of the character. When you need it, preset the real body and inner movement may also release the real emotion. Therefore, we need to give a descriptive label to the actions of the characters to help you give them themes and meanings. For example, common actions like opening the door of a cupboard also need a clear label, such as soft, hard, and other adjectives that can reflect the mood of the character and the atmosphere of the scene.

Reflection of Week 5

In this week’s study, I was able to develop a deeper understanding of the background guidance in the film through a further understanding of the characters and the analysis of adjustment actions. In the performance, keenly listen to the subtle parts of the will and intentions of other actors, so that your character will remain fresh and alive. When shooting multiple shots with one lens and shooting from multiple angles, it can appear vivid, because the work of you and your partner is based on reality, not just imagination. When an actor always maintains a constant consciousness, you must know where the beat of your character is (Louis & Georgina. 2020, p. 95). These parts should increase the intensity of the performance and become the support of your character.

When you follow or maintain your role goals, you should consider success or failure in every turn of the event. When obstacles occur, you have to make strategic adjustments according to the specific situation. Find out where these adjustments are, or how to help you build a dense and flexible role awareness. And because the actors that you play with are slightly different in each performance, you must respond together when you perform. Continue to do this work can help you easily become the focus of many shots. Evoke the inner image of your character from the past, remember and imagine in the character, express the inner thoughts of the character gently, and see the inner image. This will keep the audience interested in you.

In addition, in the process of action guidance, the character needs to fully integrate the scenes, understand what each scene and the whole movie want to achieve, and understand what role your character can play in it. Don’t try to exaggerate or change these effects. During the rehearsal period, as you gain a deeper understanding of your character, you will continue to gain new insights for your character’s “highest goal”. This will happen to all actors and will deepen your understanding of the film and its potential.

Reflection of Week 6

During the study process this week, I have a clearer understanding of the core values ​​and specific details of the scene and film guidance through thinking about the guidance work of the actors on the set and the rehearsal process of the actors.

Strictly speaking, each characterization has its dramatic function, and it must play its proper role in the plot promotion and highest goal of the whole work. Here, you have to cooperate with other actors, not compete. You should be ahead of your actors in creation, so you have to break down each scene and find out the factors that trend each character forward in each dramatic unit. You will learn more from the work of actors, but actors generally feel that you know their roles better. Starting from the preparation, you will become more and more convinced of the work and how to deal with it. You know that the authority of the work comes from this. The actors have to get decisive and clear guidance from the director, and at the same time, I hope the director can give concise but detailed feedback for their performances. They feel that they have never been satisfied in this regard. A director who is sensitive to what each actor conveys and can accurately express it to the actor is like a conductor of a symphony orchestra, who can hear the mistakes of the fourth violinist in his performance (Thomas Dunne Books: St. Martin’s Press. 2009, p. 99). No one is born with this skill-you have to study hard to acquire it. Make your preparations-learn the source of drama in your life, and then analyze the script-lay the foundation.

In addition, during the filming process, the actors look out from the scene, and you look in from the outside, just like the audience. You are responsible for the formation of the drama. By linking the beat with the needs of the plot, the attitude of the character or the emotion of the character, you can know how to perform to show the greatest tension of the script, and by consolidating the trajectory of the development of the scene. By clearly developing the intention of the character, you can help shape this scene. The influence exerted by the audience, the title of the tag can help you clarify this point and can help you avoid unnecessary repetition. Your goal is to keep the audience in a state of attention and speculation.

Descriptive & Analytical Writing

In this analysis process, I will analyze one-by-one continuity shots in a classic movie that I personally admire most-“Titanic”. As we all know, there are too many moving moments and classic scene shots in this film, for example, the virtual focus shot of Jack and Rose standing on the front of the deck, and the classic long shot of Jack standing on the deck cheering when he just got on the ship. However, for me, the shot that impressed me the most and moved me the most was at the end of the film, when the elderly Rose threw the heart of the ocean into the sea and fell asleep, and then, in this series of continuous clips , The camera takes Ross’s perspective, from the ship to the wreck of the Titanic on the bottom of the sea. As the camera progressed further, the wreckage gradually returned to the old scene. When the lights came back on and the door opened, Ross still saw the brightly lit auditorium. The passengers who had been on the ship stood there unharmed, and Jack Standing on the stairs of the auditorium and waiting, as the camera gradually approached Jack until the two kissed each other, the camera shifted directly and coherently from Rose’s subjective vision to the outside. The whole process gave the audience a feeling of time change and a combination of reality and reality. . In this shot, since there is no process of lens switching and editing splicing, the audience can intuitively feel the gradual change of the scene in Ross’s dream and the switch from cold reality to warm dream. At the same time, the reason for the director to arrange this shot is to leave suspense and speculation for the audience. There are two explanations for this shot. The first explanation is that the old Ruth dreamed back that year. The second explanation is that Old Ruth never wakes up after falling asleep. Those who waited for her were all killed and implied that Old Ruth was also dead and finally reunited with them.

The so-called one shot to the end is to achieve a smooth picture effect through the precise design and control of the start and fall of the lens. At the same time, the director also used some other techniques to hide the editing points (Haubenreich. 2016, p. 378). For example, when the main body is moving, the audience tends to ignore the changes of secondary content, the movement of objects is easily ignored, lens flare, light and shadow changes and actual light effects caused by the transition of time (Roberts & Roberts. 2014, p. 6). Inadvertent dark field, etc. It is difficult to maintain a stable focus during sports, so each set has a position called a focus follower. This is a shot of a rotating picture taken from the perspective of the protagonist in the film. The romantic effect that we see in the end is actually the photographer carrying the machine with one hand, resting his right hand on the protagonist’s shoulder, and continuously rotating and shooting. In this kind of high-speed rotating motion picture, a little carelessness makes it easier to run out of focus.

References