Form And Method:an Aesthetic Analysis Of The Long Take

1945,Andre Bazin published The Ontology of the Photographic Image,which made realistic films begin to be systematically and deeply.After the ontology of the photographic image,many early film pioneers tried to make long take films to restore reality,and the long take film has also developed into a film aesthetics that cannot be ignored.Since the 1970s,the invention of digital technology has led to an extremely profound revolution in film art,especially with the birth and rapid development of digital long takes,which has opened up a new era of film aesthetics.Digital long take does not break the traditional production method of optical long takes ①,and it can even disassemble,compound or create images more flexibly on top of the traditional long take.The creation of digital long take still follows the basic film narrative rules,but there are differences in many aspects of film language,such as theme,color,the movement of the subject,the movement of the camera and so on.Therefore,this paper establishes the research object as "an aesthetics analysis of the long take",carries out the creative research on the aesthetics of long take through the methods of functional analysis,comparative analysis,case study and quantitative research,combs the differences between the film language of traditional long takes and the film language of digital long takes,and explores various "restrictions" of digital long takes on the traditional optical long take under its unique technical mechanism,and various pursuits in the field of film aesthetics.The paper is divided into five parts:the first chapter will introduce the development of long take in the past century.According to the changes of long takes,it will be divided into four stages,which will summarize some landmark films to demonstrate.It should be noted that this is a century from the 1920s to the 2020s.The second chapter will discuss the most important problem in the long take-mise-en-scine.By means of comparative analysis,this paper compares the aesthetic problems of object evolution(not limited to composition,scene and actor)in traditional long takes and digital long takes.The third and fourth chapters will list the aesthetics of time and space of long takes respectively,including the aesthetics of cine film long takes,the aesthetics of not edit digital long takes and the aesthetics of post synthetic digital long takes.These two chapters focus on the centralized director,and tell different directors to discuss the production of long takes under different conditions and environments.Finally,the fifth chapter will summarize the development of optical/digital long takes,analyze it with the current domestic young director Bi Gan who is famous for long takes in China,and summarize the inspiration of the thesis to the author’s graduation work.Through the research on the function of long take,this paper has the following findings:first,the theme of the film changes.The theme of the long take film are inseparable from the development of society and film.The theme of long take of films in different countries shows a positive correlation in the theme under the influence of the creative environment of different times,that is,during World War Ⅱ,long take films are more about the suffering of life,The struggle of the people and the trauma of the country show a documentary style.In the digital long take period,the content is more about the happiness of the people,the edge of imagination,or unknown exploration,showing beautiful expectations.Second,the different film styles reflected by audio-visual language are closely related to the development of technology.Third,from the quantitative statistics,we can see that even in the same film with a director famous for the long take,there are some differences in its forms of expression.The long take films of the same director may have different styles and techniques,which symbolizes the differences in the style of expressing the theme and themes.Fourth,from the comparative analysis of Chinese and foreign long-shot films,it is found that Chinese long take films are more in line with American Hollywood technology and convey China’s own values.Fifthly,through correlation analysis,this paper finds that the film technology,or in terms of time,the progress of science and technology makes the long take can be used as a historical witness of a country.Finally,the article is discusses the "digital long take" and finds that the generalization of long take films in a rigid mode is biased,whether from the montage way of Soviet films or from the long take way of Bazin and Kracauer.Only along the route of the evolution of technical art media can we explore the possibility of new long take film aesthetics,it is possible to find a new form of "long take language".