Problems found by Xi Fat

Giovani 2022-04-19 09:01:42

The biggest feature of this film is the visual "one shot to the end". There is no need to worry about whether this one shot is rigorous or not. In this closed space, no matter from the perspective of technical experiments or perception, many film problems have been found. , these problems are not just cinematic/enclosed space, but cinematic (undefinable abstract time bodies)

In a closed space, through the following, zooming of the lens, the movement of natural perception is created. At this time, the lens is separated from the pure material-geographical space, attached to the natural perception of the subjective perspective, and is limited to the closed space of the subjective perception of the characters. The actual physical space belongs to the outside of the painting and cannot be displayed intuitively. The so-called closed perceptual space is just a game of manipulating time. When the two people talk on the screen, other movements are referred to outside the screen. These movements are measured by the same speed, which is the speed of the movie, which belongs to the movement time subjectively perceived by the characters.

Although the film uses a lot of unedited footage, in reality "real time", time in purely physical-geospatial metric, is defined by only a few moments, such as a table of people sitting together to eat , the shot gathers between a few people talking, and the meal is over in the next shot. This movie uses the subjective perception of a certain character to replace the editing of time, so this one shot is of course aesthetically contrary to Paragraph long takes in classic film theory.

Therefore, the "one shot to the end" in this film does not change the performance of the film image, but only requires two premises.

1. The characters accompanied by the camera do not leave the main stage. At this point, it can even be said that as long as there are characters on the main stage, they can always accompany him, or no matter where the protagonist goes, the camera can always follow him. Both of these can be done to simulate the natural perception of the character.

2. The acceleration/deceleration movement within the tolerance range of natural perception, the editing of the movie can happen outside the picture, it manipulates the time outside the picture, to imitate the natural perception, A cannot call B from abroad at the time when B drinks a glass of water Li flew home in an instant. Similarly, a meal could not be finished in 3 sentences, 10 seconds. This kind of problem also exists in this movie. In fact, this is the editing technique. When the editing is rotten, it becomes a kinky technique, a magic acrobatics, and even more so for off-screen editing.

To sum up, this film is a typical Hitchcock-style film made under the above two premises, and its aesthetics are also Hitchcock-style film aesthetics, which have nothing to do with the so-called one shot to the end. .

This "one mirror to the end" did not change the aesthetic expression of the enclosed film space, but accidentally touched the film image as an abstract time body.


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Extended Reading
  • Wilford 2022-03-26 09:01:04

    The paranoid long-mirror work of the master montage. Fatty Xi himself thinks this film is a failure. First, he thinks that this kind of experimentation is really a little bit 2, and second, it may be because there are countless strong points in ambush, and it can't be expressed. In short, this is a work that has become more and more great when it is discussed in later generations. Fatty Xi knows how to keep the audience on their toes.

  • Henderson 2022-03-27 09:01:04

    The creativity of one shot to the end is very advanced. Although the connection part is a bit stiff, the use of the lens and the setting of the lighting and scenery are very good. . The two murderers were clearly a couple, but they didn't show affection at all, and they couldn't stand the constant conversation. . . .

Rope quotes

  • Rupert Cadell: Brandon's spoken of you.

    Janet: Did he do me justice?

    Rupert Cadell: Do you deserve justice?

  • Brandon: The good Americans usually die young on the battlefield, don't they? Well, the Davids of this world merely occupy space, which is why he was the perfect victim for the perfect murder. Course he, uh, he was a Harvard undergraduate. That might make it justifiable homicide.