加拿大动物科学论文代写：电影的剪辑

加拿大动物科学论文代写：电影的剪辑

这部电影的剪辑很普通。然而，这对于50年代的好莱坞来说已经足够了，好莱坞并没有突破常规的剪辑技术，如剪切和模糊。没有后续的镜头，手持相机，和不均匀的三脚架碟是显而易见的，但不是理所当然的一个扰流片。当一个人感到有实质内容需要简单地剪切并移动到下一个场景时，这表明他在编辑方面缺乏专业知识。总的来说，《在海滨》的外观和感觉是黯淡的、自我否定的，而且完全可以想象，喀山在某种程度上摒弃了他在前十年制作的那些真诚但毫无品味的好莱坞电影，与《布鲁克林的一棵树》(a Tree Grows in Brooklyn)非常相似。

加拿大动物科学论文代写：电影的剪辑
离散摄影和拍摄在新泽西的广泛区域使“海滨”一个真正的欧洲古老传统和习俗的载体,这样大量的其他美国电影的时间(如Jules词裸体的城市)开始模仿,但证明不能翻滚在后来向新兴的传统胶片摄影和电影剪辑。喀山通过电影的每一个镜头来管理对码头的低层次的理解。可以查看相同冷冻呼吸的表演艺术家在冰冷黑暗和新泽西的晚上,和一个在湿透的波兰栏也可以感觉到它的婚礼现场,一般人群的海滨寻找放电等工作与野生打量着活力。

加拿大动物科学论文代写：电影的剪辑

The editing of the film was very ordinary. However, it was sufficient for the Hollywood of 1950’s, which had not broken out of routine editing techniques of cuts and blurs. The absence of following shots, handheld camera, and uneven tripod dish are perceptible, yet not as a matter of course a spoiler. When one feels substance to simply slice and move to the following scene, it demonstrates a level of lethargy or absence of expertise in editing. On the whole, the look and feel of “On the Waterfront” is bleak, self-denying, and altogether conceivable, a certain dismissal by Kazan of the sincere however tastelessly wistful Hollywood movies he had made in the earlier decade, much similar to ‘A Tree Grows in Brooklyn.’

加拿大动物科学论文代写：电影的剪辑
The discrete photography and the extensive area of shooting in New Jersey make “On the Waterfront” a true carrier of the European ancient traditions and customs such that a large number of other American movies of the time (like Jules Dassin’s Naked City) began to impersonate, yet proved unable, tumbling off in later reels into emerging tradition of cinematography and film editing. Kazan manages the lowly apprehension of the docks through each shot of the film. One can view the same in the chilled breaths of the performing artists in the dark and freezing New Jersey evenings, and one can also feel it in the sweat-soaked Polish bar wedding scene, where the general population of the waterfront look for discharge from their work with such wild eyed vitality.