What is the difference between television and film? Today TV and movies seem to repeat this experience vaguely. When television emerged, the contradiction between film and television was quite sharp. The most poignant thing is that many people blame TV for the shrinking of the movie market, thinking that TV has seized the movie market.
To do everything possible to capture the audience, the effective way is to strengthen the viewing and excitement of TV dramas, to be good at telling stories, to enhance the attraction, and to compete with movies and other TV programs. The aesthetic media of television and film are different. They believe that there is a quantitative difference between the size of the screen and the screen.
Here are the articles to answer, the doubts about 3 easy comparisons or differences between television and film
The feature films and TV dramas, which respectively use the movie screen and the TV screen as the carrier, are all narrated by the composite means of picture and sound. It can be said that they are the synthesis of time art and space art. There is no doubt about that. It is worth noting that when defining the artistic characteristics of TV dramas, some people always compare them with movies, hoping to extract the unique character and personality of TV from the comparison of movies and TV to establish a system of TV art.
The reason why some people like to use TV and movies as a horizontal comparison may be because they both belong to the family with the surname “Electric”, and they are all arts with “Electric”. Genes and characteristics, you can also set up a separate account. Therefore, when some people discuss the characteristics of TV, they are doing everything possible to find the basis for the division of film and television, to win a place for TV drama in the field of art.
This brings to mind the conflicting experiences of film and drama. There was a time when the movie was clamoring for a “divorce” from the theater, throwing away the theater crutches in its hands. Cinema has grown up with the help of theatre in its infancy. Once you can walk on your own, you have to throw away the crutches and break up with the partner who helped you. As a result, some people felt that the film was particularly unrighteous, and it sparked a debate.
Now TV and movies seem to repeat the experience vaguely. The contradiction between film and television has long been experienced in the West. When television emerged, the contradiction between film and television was quite sharp. Some filmmakers think that television is just like a nouveau riche, a budding upstart invading the territory of the film with impunity; while some TV people regard the film as a dying giant with a kind of pioneer’s overbearing enthusiasm. Secretly peeping at the equipment of the movie studio.
In developed countries, when the market competition becomes more intense when the commercial conflict between the two media reaches its peak, they both have a fanatical and exclusive loyalty to their respective media. Of course, in developing countries, although there will also be many conflicts between film and television and the competition mechanism of the market economy, for us, it will be regulated by state institutions, and will never intensify the contradictions and produce exclusive behavior, to affect their development.
However, we can’t help but see that the contradictions between film and television do exist, such as the problem of competing for scripts and themes, the problem of repeated shooting, and so on. For example, “A Dream of Red Mansions”, “Phoenix Qin”, ” The Happy Life of the Poor Zhang Damin “, etc., have not only made movies but also made TV series. The most poignant thing is that many people blame TV for the shrinking of the movie market, thinking that TV has seized the movie market.
Of course, this view is incomplete, but it shows that the contradiction between film and television exists and cannot be avoided. The question is how to resolve these contradictions and make them develop in the direction of complementary advantages. To get rid of the domination of the film boss, seek their independence, and establish an aesthetic system for TV dramas, some people seem to have come to such views or concepts after comparing them with movies.
(1) The material materials of TV and film are different
Although both television and film are arts with “electricity”, television uses tape and film uses film. The difference between “magnetic” and “glue” is only one word, but their functions, usage, and effects are quite different. The tape is easy to use, and the recording effect can be seen on the spot through playback. If the effect is not good or not ideal, you can decide to re-record on the spot. After the film is shot, the filming effect cannot be seen on the spot.
It needs to be sent to the printing department to develop the negative film, and then it is possible to see the filming effect after copying it into a positive film, so the process is more complicated. In contrast, TV production is fast, saves time, and saves financial and material resources. Its advantage is that it can quickly reflect contemporary themes, and even synchronize with time.
The biggest advantage of glue over magnetic is mainly clarity, and now high-definition TV has begun to play due to the improvement of TV digital technology. In addition, the technology of telecine and magnetic to glue has also been solved, so the difference between glue and magnet has become smaller and smaller.
(2) The way of watching TV and movies is different
They believe that television is an open-home art. TV sets are mostly placed indoors, and most of the people who watch TV series together are family members, relatives, and friends, the atmosphere is more harmonious, and the viewing behavior is more relaxed and casual, unlike watching movies, which must be locked in a closed dark room collectively. Watching, not communicating with each other, not affecting each other, and watching behavior are subject to certain restrictions.
Watching TV is not restricted, you can communicate, walk around, chat, laugh, and judge at will, and you can also do housework while watching TV. Thus television creates a sense of intimacy. At the same time, due to the randomness of viewing methods, it is easy to cause distraction, and it will also cause a psychological obstacle to the TV audience, thereby bringing a kind of negativity. The viewing psychologist is slightly unhappy or not interested in the program. The device can switch channels at any time, or simply shut down, creating a sense of alienation.
For this reason, some people think that the creation of TV dramas should be based on the differences in viewing methods, try to adapt to the intimacy of family art, and avoid and limit its negativity. To do everything possible to capture the audience, the effective way is to strengthen the viewing and excitement of TV dramas, to be good at telling stories, to enhance the attraction, and to compete with movies and other TV programs.
(3) The aesthetic media of television and film are different
They believe that there is a quantitative difference between screen and screen size. The screen area is small and the screen area is large. One small and one large, not only in the sight distance but also in the visual experience. From this, a concept is formed: that TV dramas should use close-up and close-up to express characters and narrate the plot, and should not use long-range and panoramic views. When Japanese TV director Katsumi Oyama came to give a lecture in China, he also clearly mentioned this point of view.
He believes that the screen is small, the panorama and perspective are weak in performance on the small screen, the clarity is poor, it is not easy for the audience to browse clearly, and at the same time, it lacks explosive power. and impact force, so use as little as possible. Unlike movies, the screen is large and high-definition, so it is suitable to use panoramic and long-range scenes to express large-scale scenes and create a majestic momentum. This is the advantage of the movie, but also the disadvantage of the TV screen.
Therefore, the TV should make the best of its strengths and avoid its weaknesses. Some of the above views can be said to have no certain truth, I think it is difficult to establish as a TV concept. Because the superiority of material and conditional theory can only restrict and limit an art, and cannot be considered in the aesthetic category of this art, because the beauty of art is displayed by the ontology of this art. If we just look for the basis of material differences and external conditions and then justify it, there is not much truth in aesthetics and artistic laws.
The establishment of the above-mentioned concept of TV drama not only does not help to think in the category of aesthetics but will restrict and restrict the development of TV art. From the perspective of the overall composition of the two arts of film and television, in addition to the differences in material materials, production methods, aesthetic media, and viewing methods, the principles and laws of artistic creation.
Such as audio-visual language, means of expression, display skills, aesthetic functions, and social In terms of the laws of function and other aspects, as well as in terms of creation principles, generalizing the theme, expressing ideas, shaping characters, structuring plots, coordinating rhythms, finding forms that fit the content, and many other aspects are also interlinked. means to meet the aesthetic needs of the audience.
From the above reasons, it can be seen that the many problems involved in the artistic creation of films are also the problems faced by the artistic creation of TV dramas. Therefore, the creative experience of both sides of the film and television can communicate and learn from each other. Many TV drama directors follow the concept and method of the movie to shoot TV dramas, and they have achieved certain artistic effects and are welcomed by the audience.
It can be seen from this that there is no need to mark an artificial boundary gap for the two arts of film and television in the field of creation or build a wall to separate the two sides, which is not good for both sides of film and television. Amphibious director. Some directors have bluntly said: “I shoot TV dramas according to the method of making movies.” And many foreign TV dramas are mostly filmed with film, and then processed and produced by the method of telecine.
So the picture quality is very good. At the same time, some special effects in the movie are mostly done by TV special effects. Therefore, it is beneficial to both parties to exchange, learn from and absorb each other in the creation of film and television. The above-mentioned concept of using close-up and close-up in TV dramas has a certain rationale, but it cannot be absolute, and cannot be viewed from a metaphysical perspective, but needs to be viewed dialectically.
Because the expressiveness of the screen is diverse, the size and choice of the scene cannot be defined based on the single argument of aesthetic media but also based on the needs of content and form, as well as the creator’s style and subjective choice. Although there is a quantitative difference between the screen and the screen in size, we should also notice another comparison of things, that is, the viewing distance between the viewer and the screen and the screen is not equal, and there is a gap.
Although the screen is large, the viewing distance is far; the screen is small, but the viewing distance is relatively short. Compared with this, the big and the far, the small and the close, there is a parallax offset between each other, and there is no visual experience. too big a disparity. Therefore, taking the screen and the size of the screen as the basis for the selection of scenes does not conform to the concept of artistic principles or laws.
Therefore, the creation of TV series does not need to be restricted by the screen frame when selecting scenes, otherwise, it will become a pattern. The key problem is not to choose the scene according to the size of the screen, but to find the appropriate expression form and scene according to the content. The early famous work “The Sun Rises From Here” by the TV drama director Zhang Shaolin made a bold breakthrough in the composition of the scene.
There are more than 350 shots in the first and second episodes of “Too”, of which there are only 21 close-up shots and 69 close-up shots, totaling about 90 shots, accounting for only 25% of the total number of shots, and the proportion is not too large. On the contrary, vision and panorama account for a considerable proportion, more than half. Due to the use of a large number of panoramas and long-term perspectives in the play, the coverage of large scenes has been fully utilized.
To create a magnificent modern construction site momentum and the atmosphere of the times, it has played a role in expanding the space capacity and setting off the connotation and found an appropriate expression for the content. In addition, it also effectively uses the contrast method of pictures and images, using the scene scheduling of large depth of field on the screen, through the perspective relationship between far and near, large and small, front and back, high and low, it is quite strong.
The contrast between an open big world and a closed small society, a China that is moving towards modernization and a China that maintains ancient folk customs, is presented to the audience; in the same space, the advanced and the backward are intertwined, and the civilization and the ignorance are contrasted. Among them, the group photo of the foreigner and the donkey, and the group photo of the village girl Nianxiang and the car, contrasted with each other, not only radiant and interesting.
But also through the sharp contrast of the images, the intriguing ideas were externalized, which made people feel a lot. If these pictures are not represented by large scenes, but close-up and close-up, it is obviously impossible to cover them, and the contrasting effect of art is also difficult to show.
The most striking thing is when the village girl Nianxiang drove her donkey to and fro between the giant trucks on the construction site, the exchanges between people and things, things, and scenery. How can the contrast and contrast with the small, the front and the back, the high and the low be reflected? If only a close-up or close-up is used to emphasize the surprised face and excited eyes of Nianxiang, it can only show the joy of the characters and the amount of information overflowing.
It is less and single, and can only convey the content of the picture. Because the space in the picture frame is blocked and filled with the faces or eyes of the characters, the sense of perspective of the picture is bound to be reduced, resulting in the closedness of the screen, and the passage of its thought extension is not smooth, which not only reduces the inner tension of the picture, and its meaning also appears to be straightforward and single.
Starting from the content, the drama “Tai” breaks through the concept that the screen should only be used for close-up or close-up, gives full play to the advantages of panoramic and long-range views, and constitutes an open perspective space. The content of the signifier is not limited to the excitement of Nianxiang’s personal feelings.
It focuses on excavating an artistic conception, a connotation, an atmosphere, and an inexplicable and unclear emotion, and sublimates it into a speculative philosophy through the blending of scenery and emotion, and the connection between meaning and reason. So that people can elevate it to the height of the aesthetic objects to examine it.
How to deal with large and small scenes, choose a variety of viewpoints, and design different angles are determined by the director according to the content provided by the script. The above lists the remarkable artistic effects achieved by the use of large scenes in the drama “Tai”. It is not intended to be biased, to depreciate the role of close-ups and close-ups, or that large scenes must be better than small scenes.
Each scene has its performance function, which should be selected according to the needs of the content, not the screen or the size of the screen. Similarly, when I was shooting a TV drama showing the theme of war, to express the spectacular scenes and grand scale and momentum of the war, I also used a large number of panorama and long-range depth of field scenes to meet the needs of the content and achieved a certain effect.
It can be seen that the content determines the form, and the creative principle that the form must serve the content is not outdated, and it should be followed in the creation of both movies and TV series. From the above argument, it is not difficult to see that TV dramas and feature films are similar in terms of artistic creation rules and creation principles, and can learn from each other. In essence, there is no fundamental difference between TV dramas and movies in terms of creation.