Through the above explanation, I believe everyone will have such an understanding: the analysis of a movie script must be based on certain cultivation.

First of all, you must have a considerable number of movies. If a person has never seen several movies in total, it is impossible to compare a movie with other movies and make a correct analysis of this movie. Only by ensuring a certain amount of films can we understand the latest and comprehensive film creation trends and phenomena, and we can also examine a film in the big creative background and environment. For example, an article analyzing Sha Ou said:

"Although the film" Sha Ou "is naive in all aspects in the eyes of today's audience, it must be affirmed that it occupies a special position in the history of China movies. In a sense, we can regard it as the original work of the fourth generation film directors in China, and it is a manifesto written on the screen. Therefore, when we comment on this film based on today, it is more important to study its role in the development of China films than to simply analyze its creative skills.

From 1979 to 1980, after the downfall of the Gang of Four, China movies ushered in an unprecedented creative tide. Among them, the works of a group of middle-aged directors such as Little Flowers, Small Streets, Laughter of Distressed People and Trembling of Life are particularly eye-catching. However, in the busy creation, China filmmakers were surprised to find that it was "a day in a cave, and the world has been a thousand years". Due to the delay of ten years' turmoil, China's films have been divorced from the world's films. Although these middle-aged directors have learned a lot from excellent foreign films, such as the use of zoom lens, staggered structure of time and space, voice-over, high-speed lens, the theme song of popular singing, rotating lens, chasing women and so on. They gradually feel that blindly taking some superficial knowledge of foreign films can't solve two major problems that China's films urgently need to solve: First, it is' untrue' widely accused by the audience. At this time, two young people in China's film industry, Wen Xing Zhang and Li Tuo, published an article entitled "On the Modernization of Film Language" in Film Art magazine. In an impassioned tone, the author appeals to domestic colleagues to learn from foreign films and speed up the modernization of China's film language. Although it seems that this article is too trivial and superficial to list the specific techniques of foreign films and lacks a systematic and solid theoretical system as the basis, the author's enthusiasm and frankness caused an uproar in the film industry in China under that specific background. This article was regarded by later generations as the declaration of the fourth generation film directors in China, and the author of the article was the director of the film Sha Ou. "

We can clearly see that when grasping the characteristics of Sha Ou's plays, the author did not talk about Sha Ou from the perspective of Sha Ou, but put the film in a big creative background, so that the author was immersed in the specific details of the script techniques and turned to "not knowing the true face of Lushan Mountain". It can be seen that a comprehensive and objective analysis of the script should be based on a comprehensive understanding and overall grasp of the development and present situation of film creation, which requires the author to pay attention to the reality and trend of film creation at any time.

At the same time, we should also see that it is impossible to analyze the script of a movie well without the corresponding theoretical preparation of the script. Let's take a look at a passage in the article about Sha Ou quoted above:

"Aristotle once formulated the laws that drama must abide by in Poetics. He said:' Some people think that the unity of the plot is based on writing only one character, but it is not. Because there may be many or even countless experiences for a person, some experiences cannot be unified; Similarly, there may be many behaviors of a person, and some behaviors cannot constitute behaviors. "On this basis, he decided that only mentioning' one person' cannot guarantee the integrity of the plot, and' one thing' must be mentioned. Li Yu, a dramatist in China in the Qing Dynasty, also holds the same view:' Later generations are legends, but they know it is for one person, but they don't know it is for one thing. Doing what a person has done, laying out the details one by one, is like scattered gold and jade, which can be broken into parts. It is called a book, a broken pearl and a house without beams. "But this is the commandment that Sha Ou wants to break. In the film, although Sha Ou's behavior is still unified-trying to win the gold medal, the film is not limited to a single event. Perhaps, the author can frame the time and space and the plot in the last overseas game, and then unfold the events in different levels according to Aristotle's law. However, this seems to be against the wishes of the author of Sha Ou. They are more concerned about Sha Ou, her life experience and inner feelings. In the whole film, what constitutes the plot is not a specific event, but the long and difficult course of Sha Ou's life. In this process, many events, big and small, happened, such as eating beef, seeing a doctor, going abroad to compete, attending a wedding, losing a boyfriend, being paralyzed, being a coach and so on. All these little events formed a necklace of plots like pearls, which was linked by Sha Ou's long life. Although this approach seems less vivid than taking a fierce external event as the main plot, it is closer to life and makes people pay more attention to the development of characters and profound life connotation. Compared with today's movies, maybe this attempt is nothing, but compared with the traditional China movies, maybe it really smells like "life flowing". "

In this analysis paragraph, we can see that the author has a full understanding of drama theory. Only in this way can he analyze the plot characteristics of the film from beginning to end, thus pointing out its breakthrough in plot and structure. Therefore, friends who are interested in improving the analysis ability of a movie script must spend some time learning drama script theory, including drama script theory.

Verb (abbreviation of verb) teaching materials and reference materials

A friend will ask, "What's the difference between film criticism and the film analysis you said?" In fact, the evaluation of a film is the same. The difference is that film analysis should not only point out where the film is handled well and where it is not handled well, but also further analyze the reasons for these situations. Therefore, it will be helpful to learn the skills of film analysis to read more film reviews published in magazines. However, if we are not satisfied with gossiping about the superficial phenomenon of a film, we should read and study some necessary works on drama theory. Now, I recommend some elementary books to my friends:

1, Aristotle's poetics: this is the classic theory of this play. Today, many film drama theories and film creation phenomena can be traced back to this book, so it is a must-read book for those who study drama theory;

2. The "Ci Qu Bu" in Li Yu's "Suiyuan": Although it is an early work of China's drama theory in the late Qing Dynasty, it wisely summarizes all the important laws of traditional drama creation, so it has become a must-read for students of Beijing Film Academy;

3. Xia Yan's Several Problems in Writing a Movie Script: Don't underestimate this thin little book. Its influence on film creation since the founding of New China cannot be underestimated. It is a basic textbook for popularizing China film education for a long time, which is easy to understand and practical;