Bazin borrows Amde Eiffel's definition of "neorealism" to illustrate his assessment of Rossellini, "the basic meaning of neorealism is first of all not only in opposition to the traditional dramatic system, but also by affirming certain The whole of reality is opposed to the various conventional features of realism in literature as well as in film”[1], the neorealism that occurs in the field of film is firstly distinguished from literature and drama, the way it organizes the structure of film It is no longer the same as the traditional, classic literary and artistic structure.
Its performance is mainly reflected in the scene scheduling of the film and the handling of the characters.
The first is the mise-en-scene. Bazin believes that the main difference between neo-realism and realism lies in the director's conscious awareness of the mise-en-scene. It is reflected in his grasp of the integrity of reality, which is reflected in the picture of the film, that is, the film with the characteristics of neorealism will present the integrity of the real scene, "The neorealist film allows our conscious activities to change from a Facts go to another fact, from one segment of reality to the next.”[2] In neorealist films, the plot appears in the form of events, and the scene has a whole. Rossellini's films have no literary elements, nor "beauty" elements, he just presents events in the form of scenes. Therefore, the meaning of the scene is not given in advance, but is realized by the audience after the fact. Just like experiencing events in life, we enter the whole of an event, all things happen but the meaning is (temporarily) ambiguous, and when the event ends, we reconstruct the (limited) meaning of the event through reflection.
The second is the handling of characters and actions. Bazin believes that "the original intention of neorealism is to refuse to analyze characters and their actions from political, moral, psychological, logical, social or any other aspects you can think of. "[3] In short, it is a kind of "de-figuration" approach. Neorealist films are reluctant to treat characters as characters that can be defined by a few adjectives. Ni is unwilling to separate his characters from the environment they are in, and the appearance of the characters must be integrated into the environment. Bazin believes that Rossellini's way of dealing with characters is to directly show the movement of the characters: "behaviour, movement changes and physical movements are the true nature of human existence"[4], he does not point to the occurrence of events to the character's movement. character (as is often done in classic literature and art), but believes that the posture and movement of the characters are the true nature of the characters. In his films, the characters do not act to express a certain meaning, but they do these Actions imply a certain meaning, these actions are integrated into the overall scene, not guided by meaning, but as the world and events are presented to us, we wander among multiple meanings and colloids with obscure meanings. In Bazin's words: "Rossellini's world is a world of pure motions, motions of no significance in themselves, but prepared for a sudden revelation of their meaning beyond God's expectations. "[5]
[1] Andrei Bazin, "An Argument for Rossellini - A Letter to Aristago, Editor-in-Chief of "New Cinema", from "What is Cinema?" ", translated by Cui Junyan, Commercial Press, 2017-9, 338.
[2] Andre Bazin, "An Argument for Rossellini - A Letter to Aristago, Editor-in-Chief of "New Cinema", from What is Cinema? ", translated by Cui Junyan, Commercial Press, 2017-9, 340.
[3] Andrei Bazin, "In Defense of Rossellini: A Letter to Aristago, Editor-in-Chief of "New Cinema", from "What is Cinema?" ", translated by Cui Junyan, Commercial Press, 2017-9, 338.
[4] Andre Bazin, "In Defense of Rossellini - A Letter to Aristago, Editor-in-Chief of "New Cinema", from What is Cinema? ", translated by Cui Junyan, Commercial Press, 2017-9, 342.
[5] Andrei Bazin, "An Argument for Rossellini - A Letter to Aristago, Editor-in-Chief of "New Cinema", from "What is Cinema?" ", translated by Cui Junyan, Commercial Press, 2017-9, 342.
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