北美作业代写：Mary and Marx

下面为大家整理一篇优秀的essay代写范文- Mary and Marx，供大家参考学习，这篇论文讨论了《玛丽与马克思》。《玛丽与马克思》是亚当·艾略特自编自导的一部黏土动画片，讲述了一个发生在两个笔友之间的非常简单的故事。影片把观众带入了一场关于友情、自我和对自我的剖析之旅，向人们展示了这两个人的精神世界、诉说了人类的本源。整部影片色彩的运用、场景的切换和镜头的衔接，都处理得非常流畅。

"Mary and Max" is a clay animation written and directed by Adam elliott. The film was chosen as the opening film at the sundance film festival on Jan. 15, 2009. It was the first Australian film to earn more than $1 million in 2009 and the first animation film in sundance's 31-year history to be invited as the opening film.

The film tells a very simple story between two pen friends. Mary dinkel is a chubby, depressed and lonely 8-year-old living in downtown Melbourne. Max holwitz is a obese 44-year-old Jew living in New York City with autism. The correspondence between the two men spanned two continents and lasted for 20 years. The friendship between the pen friends was preserved with one letter after another. The film brings the audience into a journey of friendship, self-analysis and self-analysis, showing the spiritual world of these two people and telling the origin of human beings. In fact, it is also a semi-autobiographical film, based on the director's own life and with a pen Pal he has been dating for more than 20 years.

Director Adam elliott's grasp of the overall rhythm, color and light of the film is perfect. The color of the film is mainly black and white, and such a tragic color style has been throughout the film. The scene switching, the length control of the lens editing and the editing techniques are all handled smoothly and naturally. Together with the graceful and euphemistic music, the whole story is integrated without any sudden feeling. The audience unconsciously integrates the film, and their mood fluctuates with the emotions of the protagonist Mary and Marx.

The characters in the film are not as handsome and unrestrained as the heroes and heroines in previous animated films. It breaks the traditional concept, and the characters are extremely ordinary, even clumsy. Mary and Max are just two ordinary people in the crowd. This kind of character modeling method can narrow the distance between the audience and the film and can touch the audience's heart.

Mary was fat, with a brown birthmark on her forehead, a face full of spots of different sizes, and red hair clips did not add to her beauty. A similarly portly Marx, wearing a small black hat and a grey suit, captured the image of a 44-year-old man.

In the video, 212 clay people were used, and each of the joints was movable. The pupils of the characters, which are about the size of ladybugs, are made entirely by hand, each with a shiny white dot. In addition, Mary's wedding dress is based on the late princess Diana wedding dress design. Ivey's jumpsuit is based on photographer Annie leibovitz's mother's jumpsuit. It can be seen that in the character modeling, in order to leave the most beautiful visual effects to the audience, the director in this aspect has put a lot of effort.

Composition is the essence of the picture. In order to show a specific content and visual aesthetic effect, the objects presented before the lens and various shaping factors of photography are organically organized and distributed in the picture to form a certain picture form. In order to express the theme of the film, all the shaping factors in the picture are reasonably configured, which directly determines the creation of the film effect.

The primary task of composition processing is to highlight the main image. In the film composition, the director makes great use of the composition method that puts the theme of the picture in the central position. Such a composition method not only attracts the attention of the audience, but also makes the whole picture look stable and powerful. At the beginning of the film, Marx wrote in the second letter, Mary asked Marx ever being mocked, Marx memories as a child was playing the scene, in the composition of the picture, the background is a shabby hut, peep of the peel and garbage on the ground, the protagonist Marx cower sobbing in the corner edge, the position of the protagonist squarely in the picture to the left, to attract the audience's attention on the vision, the audience deeply realized the sad fate of Marx, produce the effect of metaphor of scene, as if to convey to the audience the fragility of the protagonist, feeling wronged, build out of the full impact of the threatened effect. In the composition of the scene where Mary is standing on the podium in her academic dress, the theme of the scene is slightly off, and the upturned camera makes Mary look so confident and tall.

At the same time, also when Marx was sick again write to Mary after discharge, said they have no way to read people's facial expressions, and memories in the childhood, when in doubt, when all pen recorded the scene, Angle lens of Marx appears is so small, and shoot across the woman is very strong, the audience on Marx could not help but give birth to compassion.

"Light and shadow is the light that is projected onto the subject of the shooting, and the processing of light and shadow is a basic means of film modeling. The design of light and color in the film is very particular, the light and color of different scenes have different distinctions, and they coordinate and unify with each other, foiling the theme together. Such as Mary as an adult with Marx communication interrupt, Mary gave up more healthy family life to the group that suicide scenario, the director took the effect of top light, cic is a beam of light, dark irradiation on Mary's body, at the foot of the projection faintly visible under the light, the darkness around didn't brighten by light, fully showing Mary complex inner emotions.

The film runs through the center of the story with a tragic style. Bright colors are rarely used in the color. Most of the pictures are mainly in black and white. The city of New York where Marx lived, and the way he dressed himself, used a black and white gray, a dull, dark hue that foreshadowed the tragic ending of Marx. However, in Melbourne, where Mary lives, and Mary herself, they both use light brown, not very bright brown series, which really tells the story of Mary's childhood experience just like the memories and imagined colors. The perfect combination of the two tones makes a good distinction between the different environments of different characters in two different regions, which is shown to everyone with the picture. Even in the end, Marx's dream when they meet, Mary's scene is still warm beige, and Marx is cold black and white and gray, until the end, the two hands together, but the setting is still like this color, as if he were told the audience, they still did not meet in the true sense.

(in addition to a large number of black and white, grey, brown, also USES a few bright-colored color to foil, such as Mary's red card, Mary the mother of the red lips and Mary to Marx, Marx don't droop in the red ball, the use of these bright colors, broke the dreary picture, like evergreen bush a bit red, have the effect that make the finishing point.

"Scene is a very effective modeling method for photographers to organize, structure pictures, restrict the audience's line of sight, regulate the inner space of paintings and imply the outer space. Different scenes will produce different projections and feelings in people's physical and psychological emotions. Scene is also a visual form and method of picture composition, and also a visual structure adopted to express the content of the picture. The treatment of the scene in the shot is not only an important part of the artistic creation of the director, but also one of the important modeling means of the photographer.

Close-up and close-up images are often used in the film. Such processing not only attracts the audience's attention to the maximum, but also creates the metaphorical effect of the picture. The close-up shot of the letter when reading the letter, the close-up shot of Marx's hands when typing, and the close-up shot of Marx's eyes when he was angry all drew the audience's attention from the vision. For another example, when two people are talking friendly, they often use close shots. The camera seems to make a conscious effort to close the distance between the two people.

In the film, in order to show the open picture and the deep scene, the director makes extensive use of the large panoramic picture of the exhibition space, which can fully show the environmental space of the characters' activities, render the atmosphere and create the artistic conception. At the same time, when displaying space, the camera will often be directed to the close-up or close-up of people or objects to reflect a kind of calm gaze.

The switch between the city of New York and Melbourne, as well as the switch between the protagonist's reality and memory, the director adopts the way of writing a letter to narrate the space and the scheduling between scenes. If Mary for the second time to write to Marx, the narrative discourse while Mary was writing a letter hand close-up of transferred to the scene, in the past memories and from the close-up of writing pens turns to Marx's panoramic camera when he read the letter, so repeated transitions between dual switch, through narrative language, make the lens between natural smooth, without a sense of jumping.

Most of the scenes in the film are shot on the horizontal view. In addition, the director also makes extensive use of inverted shooting, downward shooting and pushing and pulling shots. The film completes the transition between the scenes by switching and connecting between these scenes. As when Mary carrying luggage to Damien said goodbye, after the lens using flat to complete, the following letter from Mary picked up the ground, slowly opened, the lens are also gradually advance to her, see the "M" key envelope typewriters, Mary was stuck expression, camera shake up slowly, and then taking down the panorama, feeling suddenly bring Mary to jilt to thousands of miles away at this moment, the scenery around her foil is so small, but also to her sad, sad, lonely feeling out of the incisively and vividly performance.

In addition, from the big panorama to the local close-up and then from the local close-up to the big panorama, the film USES the push-pull lens several times to switch the two scenes. The main role of the lens here is to highlight the subject, so that the audience's visual attention is relatively concentrated, and the visual perception is strengthened, resulting in a state of scrutiny. Multiple switching of the same action can express different meanings. For example, in the scene where Mary is eager to get a reply from Marx, the director USES repeated cuts to open and close the mailbox. Although it is just a simple action like opening and closing the mailbox, the application of repeatedly cutting the lens reveals the protagonist's urgent mood at that time. At the end, the camera pans from the two protagonists to the wall from bottom to top, with a bent shot from top to bottom and a beautiful music. The pity in the painting gradually moves everyone in the audience. The camera then slowly shakes out of the window, the lights of the distant city gradually become brighter, and then the camera gently shakes from the bottom up again, slowly leading the audience away from the picture. In a word, the use of sports lens is not only to enhance the visual impact, but more importantly to create the atmosphere of the scene, highlighting the changing mood of the protagonist.

Music plays an important role in the whole film, which is the soul of the film. "Music alternates with the images in the film, with a clear indication. The acoustics in the film, though mainly creating a certain atmosphere, can also be the exact source of the film's meaning. As a result, high-pitched sounds tend to be used in suspense scenes, while low-pitched sounds can suggest anxiety and mystery. In "Mary and Max," the director starts slowly with a fast-paced music like "Perpetuum Mobile," a lilting, leaping rhythm that, along with the narration, gradually introduces the audience to Mary's life world.

The background music is different for different scenes and characters. For example, background music is the sound of a melodious and sad violin when Mary comes to recall, while background music is the sound of a low, desolate cello when Marx comes to recall. Such treatment can heighten the atmosphere of the scene and highlight the characters' different characteristics. When Mary decides to leave the world, when she steps on the bench and sticks her head into the belted loop, "Que Sera Sera" in the background sounds like Mary's heart. At the end of the film, as the camera pans out, music fades, taking the audience away.

Mary and Max is a model of audio-visual language of animation films. The perfect combination of lens, picture and music is the result of the director's all-round design arrangement and the efforts of the staff. In the telephoto lens, close-up, push and pull the camera, shake the lens used many times, and make the picture language rich fluid at the same time, also let more animation practitioners understand, completes the animated film, it is not only skilled in the history of painting, but more important is the transformation and performance of screen shot, we should learn more experience.

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