Night and fog in my eyes (homework direction)

Vinnie 2022-01-12 08:01:14

Analysis of "Night and Fog"

1. Analysis of black and white shots
(1) Black
and white static shots There are 17 continuous black and white static shots. According to the classification of the subject, the performance content of the static shots are: close-ups of buildings and display facilities, signs and slogans, close-ups of facial expressions, body portraits (Jews and military officers), and personal portraits (Jews and military officers).
As far as a static lens is concerned, compared with a black and white dynamic lens, the content expressed is divided into two types: side and front.
On the side are static objects such as the environment where the event occurred and the fragmented symbolic elements. In fact, according to people's memory of the past, the existence of these things is inherently incoherent, and these things, as evidence-indirect evidence, can be preserved, giving people watching movies a lot of room for imagination. For example, the operating room in the film, the static operating table shown in the film, and partial close-ups. We can completely imagine how to use it based on the facilities displayed above. The dying struggle of the abused is the crazy behavior of the abuser, which has achieved incomparable effects; another example of performance is the compilation for prisoners. The grade mark and the Nazi slogan have obvious effects, giving the abused or facilitator a striking intimidation and instilling a concept of obedience, and it is convenient for the Nazis to carry out the killing and abuse.
The other type uses positive techniques to show people who accept the "result". In my opinion, the figures or bodies that appear in these places all reflect the "result" after an act. For example: "collected prisoners", "battered prisoners", "dead bodies of prisoners everywhere", "skinny limbs", "empty eyes", "officers and family members who enjoy the family." These black and white static shots are all "results" after an act. After being escorted? After being abused? After being slaughtered? The other side of the cruel abuser? In short, when I was watching a movie, through these lenses, I unconsciously associated with its "antecedents." Of course, black-and-white dynamic shots may have mentioned the so-called "antecedents", but they have left the "process" for us to think about. In my opinion, this can guide the viewer to actively participate in the complete chain of thought, which will make the viewer’s memory of the content deeper and give people a shuddering feeling.
(2) Black and white dynamic lens
A total of 18 continuous black and white dynamic shots appeared.
First of all, the author noticed the "emphasis" effect of the black and white dynamic lens.
The first is the emphasis on time nodes, that is, the performance of historical events. For example, the military parade where Hitler came to power, the Jews gathered together after being arrested and waited for the bus... The
second is the emphasis on quantity. The author noticed that in the picture, for example, the fixed lens using the material is a group of Nazi soldiers who passed by. The enthusiastic crowd that Hitler came to power, the number of concentration camps built by the Nazis using aerial photography, the piles of warehouses or the hair of living or dead people, the piles of documents for registering the identity information of prisoners, and the roster was crossed out by red lines. Representing prisoners who have died and corpses piled up into hills by bulldozers, these all represent the word "many". The number of explanations is so large that we can imagine the scale of the slaughter, the impact and destruction of the slaughter.
Third, the author believes that it is a symbolic emphasis that the director interspersed to express his views and connect the main line. The author has symbols in the black-and-white static shots mentioned above, but these symbols are factual signs and an objective existence. However, the symbols in the black-and-white dynamic shots have evolved into an abstract, conceptual, and symbolic meaning. A symbol that can stimulate the viewer to think, and this symbol is sometimes emphasized by recurring methods. According to the author's statistics, the content is as follows:
1. The black train traveling in the thick fog
has three functions: First, as a physical carrier, it carries the victims of the massacre and plays the role of space transfer. Second, in terms of its characteristics, it also has symbolic meaning. Black trains often travel like ghosts in the dark, coming and going without a trace. Thick fog protects it, just like the scene where we go back to history today. I don’t know. Where will history lead us. Third, as a scene that appeared, the title of the film was named Night and Fog: "Night" and "Fog".
2. "NN" on the prisoner's uniform
When the content talks about dividing prisoners to register here, only this content is used. The material used is a fixed lens, which is different from the previous arrangement to attract people's attention. According to the information, the expression of "night and fog" in German is like this, and it also points out that these prisoners are unidentified people. The above "black train traveling in dense fog" is similar, the point of question, the smoothness of a pun, and the past is also "unknown" to us. The dynamic shot here impresses the viewer.
3. Drinking soup.
First of all, soup itself cannot be used as a dinner, but the director only revolves around the scene of "drinking soup" to show the living conditions of the prisoners-"scramble", "weak and strong food", "shortage", "Death", the choice of concise, detailed and appropriate makes the film short and concise.
4. In the
film "It's Not My Fault" , all kinds of people are defending their crimes. In order to survive, it is only to execute orders from superiors and persecute the survival of others. So whose fault is it? At this point, the director directly conveyed his inner voice, which was ear-sounding and thought-provoking.

2. Color lens analysis
Continuous color dynamic lens appears in 12 places. The color dynamic shots are all empty shots without exception. The empty lens adopts a progressive method, just like the way we observe the objective world in Su Ri Li, and every empty lens that appears takes a longer time. The same thing follows the moving and forward lens picture, leaving Give us enough time to observe the subject.
In terms of content, color lenses can be divided into two types of subjects, one is the natural environment and the other is the man-made environment. As far as the natural environment is concerned, the method adopted is to bring the scene into the building. There are three places, one is at the beginning of the film, a quiet and ordinary pasture, but with the movement of the down camera, from the pasture to the fence, the appearance of the fence appears abrupt in the tranquility, in terms of the psychological feelings of the viewers. , Regarding the change of content, from the control of the rhythm of the content lens, thereby changing the content rhythm of the viewer. Immediately after, he passed the fence and entered the building in the concentration camp. In terms of the arrangement of the subject, it is a sequence from outside to inside, simulating the travel route of people taking a concentration camp as a "visiting" place. Another option is to move the car tracks forward to the gate of the concentration camp. Similarly, this method of connection seems to break people's inner rhythm abruptly, but it seems reasonable and attracts moviegoers. The natural environment at the last place is the most impressive. The pits where the bones are buried are now a bog. The lens takes a close-up shot of the surface of the bog. The surface of the bog is not different from any bog. , But, under the water, people can't help but think of creepy bones. The author believes that the performance of the natural environment in this film not only explains the environment in which it is located, but also smoothly links the natural environment with the man-made environment, and stimulates the viewers' associations. The author believes that the most outstanding thing is the last quagmire, a pool of "dead" water, and the heart is chilling.
The other is the performance of the man-made environment, and the performance of the man-made environment is also divided into two types, one is outdoor, the other is indoor, and the movement of moving, shaking, and lifting is mostly adopted. What impressed the author in particular were the indoor shots, such as the pan in the observation pavilion, which reproduced the perspective of the Nazi soldiers monitoring the Jews; in the gas room, the Jews were not tortured and even left traces of life struggle on the ceiling...Simulation tour Sequence, highlight the details of indirect evidence.

3. Light consumption analysis
The author noticed the running out of the color lens in the film. The shooting time of outdoor scenes is sunny, morning or afternoon. The subject of the screen is dragging a diagonal shadow. The use of warm colors makes the picture appear soothing and warm. Using contemporary perspectives to examine the objects being photographed is no different from ordinary architectural scenes, but their historical identities are so heavy and psychological. Contrast. For indoor scenes, the shooting time should also be sunny, in the morning or afternoon, and the indoor scenes are all in cool colors. Here is a contrast with the warm environment outside. There is a visual contrast, which gives viewers a strong impression. The dense shadows in the interior and the deserted tone give people an immersive feeling.
The author believes that the seemingly calm dynamic and static shots, and the violent and bloody shots with different reductions and exemptions, have formed a unique contrast effect under the arrangement of the film material: black and white and color, warm and cold, relaxed and heavy, seemingly not direct The conflicts exposed in the film content, through the arrangement of these elements, retain the conflicts on the sensory tube, which is more observable.
Here is a good interpretation of the effect that the director himself wants to achieve: for the memory of forgetting.
The filming time chosen for the film—the sun and warm day that is no longer ordinary, did not use various methods to render fear and death. What the lens captures is to reproduce the current situation, and there is no artificial to erase the original traces, but as time goes by, the former existence has been covered by nature, the square full of corpses is covered with weeds, and the corpses are buried. Where silt accumulated.

4. Personal artistic style.
As far as the film is concerned, the author believes that it has a strong personal touch. Director Lei Nai upholds the themes of previous films: memory and forgetting. The method of expression is also a montage method of using space balance and time interlacing between reality and history. The teacher in the class once mentioned, can documentaries have their own artistic style?
The author personally believes that it is all right. Regardless of any work, if there is a choice or a choice, there is a subjective will, carrying one's own conceptual standpoint. An artistic style is also a choice, why not?
But the author believes that no matter what method is adopted, it should be based on the content of the service itself, and the form should be an aid to add color rather than hinder the vision and thoughts of the viewers. Therefore, the author believes that subjective elements should be boldly used in any way for events or characters that have occurred or are occurring without distorting or interfering with the content. The author believes that reality is not only one aspect, but also more than one side that can be described. It can contain many things. The performance can be replayed, but the simulated one must have existed. This is the difference between documentary and drama in the author's mind.


Final homework, layman, blog, I still want to listen to everyone's opinions again.

View more about Night and Fog reviews

Extended Reading
  • Kayley 2022-03-17 09:01:06

    Expansion pieces, photos, narration, contrast and translation. The opposite of materialized crowds and dehumanization, tacit approval and hostility, irresistible suppression and inescapable acceptance. All the documentary about the concentration camps are horror films with excellent congenital conditions.

  • Issac 2022-03-29 09:01:06

    Resnais' shots, as always, give static objects life and signs of movement through movement, freeze and angle switching, haunting animation. Archival fragments are the denunciation and petrification of all motion, life, and flesh, turning them into objects, implements, and fragments. Looking for the ghost of memory from the absence and the abstract.

Night and Fog quotes

  • Récitant/Narrator: Grass flourishes on the inspection ground around the blocks. An abandoned village, still heavy with peril. The crematoria are no longer used. The Nazi's cunning is but child's play today. Nine million dead haunt this countryside.

  • Récitant/Narrator: Who among us keeps watch over this strange watchtower to warn the arrival of our new executioners? Are their faces really different from our own?