Stephen dnosdry

下面为大家整理一篇优秀的assignment代写范文- Stephen dnosdry，供大家参考学习，这篇论文讨论了史蒂芬·戴德利。英国导演史蒂芬·戴德利出身于戏剧界，曾经多次获得过英国戏剧界的最高奖项托尼奖。在电影领域戴德利涉足并不深，但他执导的电影评价都很高。纵观戴德利的四部影片，对于观众来说都是富有一定启发性和文化内涵的，这也正是戴德利能够一直保持着自己电影的艺术水准，具有其他商业大片所难以匹敌的艺术魅力的原因。

British director Stephen dnosdry from theatre, once many times won the highest award for the English theatre Tony award. In the field of film Stephen dnosdry involved in is not deep, it was not until 2000 that he only rely on music movie "Billy Eliot" step into the cinema. It's worth noting, however, that all four of Mr. Dudley's films, so far, have done well. "Billy Eliot" won the best director Oscar nomination, involving the reflections on world war ii, "the reader" and "9.11" incident in the United States as the background of the special ring, very close to nominated for best picture, "always" is nominated for best director and best picture at the same time. The fact that there are so many academy award winners has something to do with the aesthetic value of the dailey films. Throughout the four films, there are differences in time background, focus and whether there is a novel or not. The common point is the deep understanding and rational thinking of life and history that Dudley injected into them. No matter what movie is, it is enlightening and cultural to the audience, which is the reason why Mr. Dailey has been able to maintain the artistic level of his films, which is hard to be matched by other commercial blockbusters. An analysis of the aesthetic dimension of Dudley's films will help people to further understand his use of film language, so as to enter the world of the director who is always seeking to express the truth, goodness and beauty of the world.

The most direct way for the audience to feel touched and resonated by the film is the picture. Each picture is the basic unit of the film created by the director through the lens and the camera position. The picture contains the director's thinking about what kind of scenes to shoot, what means and Angle to show the objects, and what kind of modeling elements and combination methods to choose for these objects. In the early 1920 s, with the emergence of German expressionist style, the aesthetic pursuit of the scene began to become the director think the film is qualified or not standard, paintings and even become an important reference for evaluation of scene, so the scene scheduling, distortion and exaggeration and montage in the movie the middle out one after another. The main attraction of Mr. Dudley's film to the film theorists and fans is that it has a huge value for discussion of its content, but that doesn't mean the stage-turned-director has neglected the beauty of the form the film expresses through the lens.

Take the cross-cut example. The intersecting clip can show the plot, atmosphere and character relationship through the combination of shots in short scenes. At the beginning of "the reader," the protagonist Michael opens a window after his wife leaves his home, where a train is coming. The next scene, however, is a bus. The sunny day just now cuts to the rainy day. Sitting on the bus is a teenager coming home from school. Then, in a cross-cut of the faces of the middle-aged and young Michael, the story returns from 1995, long after the heroine's death, to 1958, when the two did not know each other. Mischa recalled her teenage story at this time because her recently departed partner complained, "I don't know if there is a woman who can stay with you long enough to know what's on your mind." In this connection, the audience can learn the reason of this problem: it is precisely because mischa loved Hannah as a teenager and suffered great harm from her that he was unable to handle the relationship with the opposite sex.

Dudley used this lens language with equal skill in his previous film the hours. In the original book, the story itself is divided into three lines, telling the fate of three heroines in different historical backgrounds. From the perspective of deep relationship, it is Mrs. Dalloway by Woolf that connects them. On the surface, it is necessary to use cross-cutting and montage to make the audience jump repeatedly in different time and space, and place them in the same time dimension to refer to each other. Such parallel narration can make the film's narrative effect extremely smooth, and also leave a deep impression on the audience visually. In "the hours," Mr. Dudley USES a montage of the scenes of the three heroines waking from their slumber. This is not only because the common ground of "the experience of the day" connects three lines, but also because awakening means the beginning of the day, mainly because "the moment-to-moment" focuses on the inner world of women in different times. Whether in the 1920s, the World War II or the present, women were oppressed in real life. They could only seek a spiritual release or communication and hide themselves in the kaleidoscope of consciousness. As Mrs. Brown, Moore's only joy in life is to read Woolf's "Mrs. Dalloway," to have a spiritual dialogue with the woman, while the reality of her husband and son makes it difficult for her to communicate. Women's spiritual world is both rich and hidden, and waking from a dream means that they have stepped from the spiritual world into an unendurable reality.

Meanwhile, dailey's film does not ignore the authenticity of the film for the sake of simply pursuing the visual beauty of the picture. In the 1980 s, Andre buzan mentioned movies in the film what is the meaning of "authenticity", since then of documentary aesthetics trend spread quickly in the field of film and television. In Stephen dnosdry work, also can feel such a spirit of the humanities on-the-spot report and the "live" static view of life. In the case of "the reader", which is made up of almost all cold tones, Mr. Dailey seldom USES yellow tones and light when describing the memorable summer of Michael and Hannah. In addition to highlighting their only good time, it is also the true lighting effect of summer daylight. After Hannah left without saying goodbye, such warmth will never return. For example, after rice xia sent away her female companion, she looked helplessly at the room with scattered quilt. The walls, furniture, quilt and sheets were all presented as pure white, which reflected the inner blockade of rice xia.

A feature film is the art of narration in the first place. Most feature films must convey a complete message to the audience, so that the audience can not only accept a story, but also understand the complex process of time background, character relations and plot connection behind the story. Narration includes the concepts of "Syria" and "event". "Thing" is reflected in the director's choice and transformation of the script. As far as the screenplay selection for Mr. Dudley's film is concerned, he is both an independent writer and a fan of adapting novels. Including the special ring, very close is based in the United States the director did not dare to touch "9.11" incident, so that the film has just released by the American critics of protest, they criticized the British Stephen dnosdry doesn't understand what is meant by "9.11" spirit, just use the relationship to the United States people physical and mental trauma sensitive topics for intentionally sensational. However, the bad review of American film critics is actually because the film involves too much pain in American memory, which shows that the film language used by Dudley in the film is in place, and he is able to make perfect images of the words and finally achieve commercial success. And "always" is adapted from American writers, the novel of the same name of the film ? writer Michael Cunningham, the obtained "Faulkner prize for fiction" itself to ensure the quality of the film on the narrative, and film are also runs through a text in western society is deeply rooted in the hearts of the people - Virginia? Woolf's "WeiFuRen. And the whole plot of the film is filled with soul light because it is built on this wonderful novel. In general, all of his films are closely related to literature. The director has more absolute authority of monism in the "narrative". The way the director tells the story is a reflection of personal understanding of the world and history. With the gradual maturity of filmmakers' creative ideas, the consciousness and thoughts of the subject that the film needs to present in the narration are also improved, and the various rhetorical devices that the film USES various elements such as scene scheduling, lighting and editing to integrate the subjective emotions of the characters in the narration are also enhanced. Dailey's works tend to be a progressive synthesis from picture to plot to thought. In the hours, for example, the third woman in the film, the life of an editor named clarissa, is interleaved with Woolf's Mrs. Dalloway. The two texts of reality and fiction are embedded together to create a huge interpretive space, like a mirror reflecting each other. Woolf with clarissa dallow who one day in the life, will show her life in the consciousness of rivers, let her memories if marry like 30 years ago Mr Peter instead of "who in this matter, and suicide caused by world war I veterans dallow WeiFuRen of life feeling, the feeling of anxiety in people's common after world war I. In the movie, clarissa goes out to buy flowers to party for her ex-boyfriend, the poet Richard, who is the son of Mrs. Brown who tried to read "Mrs. Dalloway" to kill herself. Different times have made different marks on people's mind, but they all point to a tragic ending. In Mrs. Dalloway, Mrs. Dalloway and the veterans of suicide are Woolf's characters seeking for their own heart, while clarissa and Mrs. Brown are the women set by dailey who have the same spiritual journey and sense of survival as Woolf in the new era. It can be said that in terms of narrative, "the moment-to-moment" is not only an artistic reconstruction of Woolf, but also a reflection of the spiritual outlook of the entire western 20th century through women in the early, middle and late 20th centuries, which makes the film's aesthetic narrative dimension remarkable.

Before a director chooses and shoots a subject, he must first be inspired to create. When the film is accepted by the audience, the audience will feel the power of the emotions of the characters, which will resonate with the film and give feedback on the director's emotions. The aesthetic of the film in the emotional layer includes the director's own emotional experience, the emotional factors of the story in the film and the audience's emotion to the film after contacting their own inner world. All three are indispensable, and once there is no intersection between them, the emotions of the film will disperse or alienate the audience. The emotions of the director create the emotions of the film, and the emotions of the first two can only be proved to be Shared with human beings after calling for the emotions of the audience, which is of universal aesthetic value.

Capturing intuitive shapes that embody emotions is what Mr. Dudley excels at. Take "special sound, very close" as an example, the most important emotion of the whole film is family affection. Oscar because my father died in "9.11" incident, henceforth no longer realize a father. And Oscar himself is so dependent on his father that the emotional issues that were hidden after his death are amplified. In presenting Oscar's anguish over the loss of his father, Dudley takes a more direct approach to his mother's love. Since Oscar has autism, he is afraid of everything in the world, such as public transportation, swing and so on. The death of his father left him with a sense of guilt that it was his failure to answer the phone that led to his death. The more he felt guilty and missed his father, the more he alienated his mother. He repeatedly listened to his father's last words on his answering machine, even saying to his mother, "I hope it was you in that building that day," which caused great harm to her. For Oscar, the loss of his father was too much for him, and in his childish mind he might not have had to face the pain if his mother had died. But the mother faced up to her son's pain, took him to visit others together, and recalled the details of the father together, and the two restored the broken family, gradually moving the tone of the film towards healing and sunshine. In the first place, Dudley conceals the real thoughts of Oscar, leaving the suspense to the moment when he meets the black uncle in the process of searching for the keys, and asks him to tell everything honestly to strangers. This is completely in line with the human mentality. In the end, the Oscar succeeds in overcoming the psychological obstacles and swings, no doubt defusing some of the film's heaviness. It can be said that Dudley creates a real discourse space for ordinary people on the aesthetic level of emotion.

When the film under the stimulus of commercial gradually into the "emotional after the society", in virtual images to attract viewers, satisfy the audience's visual consumption desire rather than the pursuit of the truth of history and the particularity of personal experience, Stephen dnosdry can, in the cacophony in guarantee the picture form at the same time, always insist on the emotion of digging, the emotional and aesthetic significance of the fragment in the society or side give emotional attention. In addition, the use of multiple rhetorical languages in the narration of the film enables the film to convey emotions smoothly and depict the hearts of the characters in a detailed manner, providing a bit of fresh thinking for people caught in confusion and confusion.

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