Name: 角色視覺中的3個精彩瞬間 (3 Brilliant Moments in the Visuals of Character)
Uploaded: 2021-01-14T08:04:16.000Z
Duration: 14 min 23 s
Description: 【看影片學英語】數萬部 YouTube 影片，搭配英漢字典即點即查，輕鬆掌握單字發音與用法，長久累積看電影不必再看字幕。

hey, we're launching a new free movie streaming service called Movies On Us.

If we sponsored an ep could you guys maybe help us get the word out?

And because the only thing we like more than movies are free movies we said,

And their catalogue has some great flix that might well have landed on top of

But we all felt that an unranked, brilliant moments episode would be

the fairest way to highlight the best of their selection,

without calling into question the immense

journalistic integrity we've built up by picking, No Country for Old Men,

The Third Man, Citizen Kane, and The Mirror, over and over and over again.

So we picked three moments from their catalog we think you'll like

about characters and the visuals used to reveal them.

And the nice thing about this partnership is that you can finish this list and

then literally go binge watch all three of our choices on Vudu's Movies On Us for

Because you weren't actually going to get anything done today, were you?

These are three brilliant moments in the visuals of character.

If you pick up a basic book on cinematography and

flip through its pages to its obligatory list of different kinds of shots,

odds are you might find information on the different meanings of each one.

For instance, high angle shots, they'll tell you, are for

Whereas, low angle shots are for making them look big and strong and powerful.

A high angle is what it looks like to look down on someone just like a low angle

And it's not too big of a stretch to suggest that the height comes with

power and status sometimes, but it also often doesn't,.

We certainly bring visual associations in from our experience as

And we bring in visual associations from our history of cinema experience, too.

But there's a third source of visual association we can use to make meaning

Smart directors in good control of their craft build associations

Only to cash in on them later by recalling them, remixing them, rehashing them,

And filmmakers can use this kind of visual shorthand to create strong motifs that

they play with in order to reach much deeper meaning than just low shot,

And one of the places this really pays off is with character.

Good characters are rich with inner life, with hidden wants and fears and depths and

But we can't exactly put them on screen so easily.

Words on a page are an excellent surrogate for an inner monologue.

Reading them can put our mind through the exact mental paces

cinema can only access that information indirectly.

You probably heard great actors praised as having expressive faces or

And while it sounds nice, all it really means is that their

external appearance gives us lots of information about their internal world.

expressivity of shifting complex imagery to clue us in to the internal landscape of

their characters that might be otherwise inaccessible.

A beautiful little indie romance that won the grand jury at Sundance back in 2011.

Where Anna and Jacob, played by Felicity Jones and Anton Yelchin, have fallen in

love at university and spent the summer together after graduation.

But Anna's student visa expired with the school year, and

on her next trip to visit, she's detained an denied entry for the violation.

While Jacob waits helplessly on the other side of immigration control.

>> You will not be allowed to leave the airport.

Two agents from Homeland Security are going to come in here after I leave.

You will be placed back on the plane immediately and returned back to the UK.

>> With hardly a word these two shots tell us everything we need to know about where

Jacob's head is at and his relationship along with it.

The defeat, the fatigue, the depression, the exhaustion.

They're contained in not just his body language, staging, and lighting, but

in their visual contrast across these systematized images.

Images built with respect to each other, not just in their own little bubbles.

Imagine the sequence differently with only one of these two parallel shots.

>> And while neither of those variations are exactly rays of sunshine,

they don't quite carry the same defeat as the original.

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角色視覺中的3個精彩瞬間 (3 Brilliant Moments in the Visuals of Character)

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