Name: 映画の5つの輝かしい瞬間 (5 Brilliant Moments In Film)
Uploaded: 2021-01-14T06:41:46.000Z
Duration: 15 min 23 s
Description: VoiceTubeの動画で発音を聞きながら英語表現を覚えよう！学べる英語：

>> CineFix Host: For this week's list, we want to take a break from ranking things

and spend some time appreciating the beauty and the details.

Pointing out some of the subtle ways films speak to us in this

little moments you might have otherwise missed.

These are five unranked brilliant little moments in great films.

>> CineFix Host: Cinema is a distinctly active visual media,

where novels have the ability to dedicate pages of their story to the internal and

the complex, cinema is forced to find a way to show it happen.

So one of the things we really wanted to highlight with this list is how

clever film makers have found ways to visualize the un-visual.

How films managed to reach beyond the surface,

how they render the internal external in a clear and understandable way.

And what gave us this idea was a tiny little moment

from Ang Lee's Crouching Tiger, Hidden Dragon.

When the green destiny sword is stolen by a masked thief and

the thief is track back to Governor Yu, Shu Lien sets out quietly investigate

the Governor's household, including his suspicious daughter Jen.

Now Shu Lien has already fought the thief and

she already notice the thief's particular martial arts skills.

Then we get this sequence and something important happens.

>> CineFix Host: Without saying a single word, we get to watch Shu Lien

realize that Jen is a gifted martial artist and possibly the thief.

In just a few simple shots, Ang Lee has rendered realization visual.

He's already established Shu Lien's suspicion but

let's unpack this brief moment and how it works.

After establishing the scene, he cuts to a closeup of the brush tip and

what starts as a rather ordinary static shot lingers longer than you might expect.

Devoting extra time to gliding along with the brush stroke.

This extra time cues us to mark the beauty and rhythm of the writing and

The film cuts to the top of the brush and Jen's hand holding it.

Two long close-ups of different parts of the same object

in succession ,which will be a relatively unusual coincidence in a well-made film.

A well placed close-up doesn't just show us an arbitrary detail,

And in a place where we might not ordinarily expect it,

It asks us to consider why we're watching this close-up,

giving an ordinary object extraordinary importance.

Not only that, but this second shot specifically excludes the brush.

We are focusing on a handle and how it is held, its movement, its precision,

separate from its use as a writing instrument.

With this amount of time dedicated to it, it's hard for

the audience not to start making connections.

Finally to complete the sequence, we cut to a medium close up of Shu Lien

shifting her eyes from the brush to Jen, revealing the previous shot to be a POV.

This extra importance we've given to the brush tip and

We can conclude that the importance with which we regarded that object

is the same importance with which Shu Lien did.

And in three simple shots we see that Shu Lien is paying extra

special attention to the way Jen holds her brush.

And with a little inference has realized that Jen knows how to wield a sword.

Of course as an added bonus and if anyone hasn't picked up on it yet,

>> Shu Lien: [FOREIGN] >> CineFix Host: What

she's really saying here, is I now know you know how to use a sword.

And from the look on Jen's face we're not the only one's who pick up on it.

Now while we're talking realization, Crouching Tigers reminds us

of another one, one that's even more technical and precise.

Because while there's no denying that the wonderful human performances of

Michelle Yeoh and Ziyi Zhang help us along, could a film show us realization in

the mind of a character who has no emotion at all?

as seen in the lip-reading scene from 2001: A Space Odyssey.

When Bowman and Poole go into an insulated pod to talk about their concerns over

their artificially intelligent computer system HAL, without it overhearing,

>> Dave: You know another thing just occurred to me.

>> Frank: Hm? >> Dave: Well, as far as I know,

no 9,000 computer's ever been disconnected.

>> Frank: No 9,000 computer's ever fouled up before.

>> Dave: I'm not so sure what he'd think about it.

the two astronauts talk privately about their concerns about HAL.

And traditionally they would be the focal point of the shot but

the drop dead centered deep focus framing of HAL along with their constant looks

towards him keep us ominously shifting our focus to

him throughout the entire conversation an unblinking and ever present threat.

And then we cut a closeup on HAL, the sound is dead silence, eerie silence, and

At first it seems like we're getting this close-up off of the astronaut's

>> Dave: I'm not so sure what I think about it.

>> CineFix Host: But if we were still operating out of their perspective,

we would expect to still hear their voices in the background,

But we don't, and we soon realize it isn't.

We've shifted perspectives to HAL's point of view,

which immediately signals to us that something else is going on.

And when the shot cuts again, we see what?

we see that he's following the entire conversation and no, we can't hear it but

the ultra-tight framing on their mouths tells us he's focusing on their lips.

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映画の5つの輝かしい瞬間 (5 Brilliant Moments In Film)

anxiety

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accent

concept