Video在线视频

In this section, we mainly discuss how mise-en-scène
在这一节中，我们主要讨论

elements can be arranged in a frame to form a certain composition
如何共同运作场面调度元素，让它们在同一个景框中形成一定的画面构成

and what effects and functions the frame composition（构图）can have.
以及这样构图的效果和功能

To begin with, let’s look at what composition means.
首先，让我们看看构图的意思

In visual arts
在视觉艺术中

composition is the placement or the arrangement of the visual
构图是指视觉元素

elements within a work of art. In terms film
艺术作品中的位置或排列。在电影中

composition refers to the arrangement
构图是指景框中

of mise-en- scène elements in the frame.
共同运作的场面调度元素

Setting, lighting, costume, performance—these
布景、灯光、服装、表演

are the components of mise-en-scène.
这些都是场面调度的组成部分

However, one element seldom appears in isolation.
然而，任何一个元素都很少孤立出现

Each usually combines with another
各元素之间都是相互作用

to create a specific system in every film.
在电影中创造一个特定的系统

The image projected on a screen is flat, of course.
当然，投影在屏幕上的图像是平的

And it displays a composition within a frame
它景框内的展示一个画面

just like a photo or painting.
就像一张照片或一幅画一样

The arrangement of the mise-en-scène creates
场面调度的运作创造了

the composition of the screen space（屏幕空间）.
屏幕空间

This includes the organization of shapes, textures
它包括形状、纹理

patterns of highlights and shadows.
多种模式的光和影

In cinema,
在电影中

our vision is attuned to changes of several kinds:
我们的视觉适应着几种变化

movement, depth, balance in composition, and color differences.
动、景深、构图平衡和颜色差异

Obviously,
很显然

a moving item draws our attention more quickly than a static one.
一个移动的物体比一个静态的物体能更快地吸引我们的注意

We are sensitive to even the slightest activity within the frame.
我们对景框内哪怕是最轻微的活动都很敏感

When several moving items appear on the screen
当屏幕上出现几个移动的物体时

as in the party scene,
如在派对场景中

we are likely to shift our attention among them
我们便会根据

according to other cues such as the protagonist.
主角的行动或其他线索而转移注意力

As we see in this picture
如画所示

the three-dimension space of the party is suggested
派对的三维空间是由

by the difference in size of figures, the setting, and lastly
人物的大小、背景

the protagonist Scarlett. Our eyes are cued by her appearance
和主人公斯嘉丽构成的。我们的眼睛由她的形象所引导

and move along as she walks into the hall.
并随着她一并走进大厅

The factors in the image which help create such a sense
图像中帮助创造

of space are broadly called depth cues（景深）.
这样一种空间感的元素被广泛地称为景深

They encourage viewers to imagine
景深效果可以让观众想象

that space behind the screen
屏幕后面的空间

a three-dimensional world in which the actions take place.
一个有角色行动产生的三维世界

The depth cues highlight planes（层面）within the image.
景深能突出图像的层面

Planes are layers of space occupied by persons or objects.
层面是由人或物体占据的一层空间

Planes are described according to how close or far away
层面是根据它们

from the camera they are.
和摄影机的距离来展示的

There are generally three types of planes: foreground（前景）
层面一般有三种类型：前景

middle ground（中景）and background（背景）.
中景和背景

Let’s re-examine the planes of the earlier shot.
我们重新来看一下之前镜头中的层面

The three planes are clearly marked by figures, colors and size.
这三个层面可以由明显的人物形象、颜色和大小区别开来

In the foreground, the protagonist Scarlett is in the largest size
在前景中，主角斯嘉丽是最大的形象

and also highlighted by the color of her hat.
也因她帽子的颜色突出在景框内

Moving back further
向后移动

the middle ground is marked by the crowd who, though in different colors
中景是由不同颜色衣着

are similar in size and movement.
但相似大小和动作人群构成

The background is suggested by the ladder and the people
背景是由梯子

walking down
和向下行的人构成的

even smaller in size.
形象更小

So clearly, size is the most obvious indicator of planes.
很明显，形象大小是不同层面最明显的标志

Now, let’s move on to compositional balance（构图平衡）.
现在，让我们来讲构图平衡

Balance in composition
构图平衡

refers to the extent to which the areas of screen space
是指屏幕空间的区域在多大程度上

have the same distributed masses and points of interests.
具有平均的人、物和兴趣点分布

One commonly used compositional
常用的构图平衡

balance occurs when the filmmaker places a single
是拍片者把一个单一的形象

figure at the center of the frame
放在景框的中心

and minimize distracting elements at the sides
并让在两侧的干扰元素最少化

as many of our earlier illustrations have displayed.
我们之前的许多示例都是采取这样的构图方式

Moreover, filmmakers often assume that the audience
此外，拍片者一般会认为观众的注意力

will concentrate more on the upper half of the frame.
会更多地集中在画面的上半部

And therefore, the upper half needs less “filling up” than the lower.
因此，上半部分比下半部分需要更少的“填充”

Let’s back to picture 1 as an example.
让我们回到图一的例子

The filmmaker made some
拍片者

effort by placing the main character Scarlett in the lower half of the frame
尽量把主角斯嘉丽放在画框的下半部

whereas the upper half is left for the setting.
而上半部则留给布景

Color differences also create overlapping（重叠） planes
颜色差异也创造重叠的层面

because cool or pale colors tend to recede（减弱）
因为冷色或淡色往往会减弱

filmmakers often use them for background planes.
拍片者经常用它们作为背景层

The director can also exploit principle of color contrast（颜色对比）
导演还可以利用色彩对比的原理

to shape our sense of screen space（屏幕空间）.
来塑造我们的屏幕空间感

For example, bright colors set against a more subdued（柔和的）
例如，设置在更柔和色彩背景下的明亮颜色

background are more likely to draw our eye.
更有可能吸引我们的眼球

Again, in the same image, although Scarlett is not highlighted
同样，在相同的图像中，虽然斯嘉丽

and also with her back against the screen
背对着屏幕没有被突显出来

her hat stands out as it is in bright yellow.
但她亮黄色的帽子却显得尤为引人注目

Both the size and the color of the hat serve as eye-catchers.
帽子的大小和颜色的功能都是为例吸引眼球

This concludes Section 6 of Unit 2.
第一单元第六讲到此结束

In the next section we will carry out an extended analysis
在下一节中，我们将进行扩展分析

by bringing together what we have learnt about mise-en- scène.
将我们所学到的关于场面调度的知识综合起来

Thank you for watching.
感谢你的收看