The long shots would add to the loneliness of the character concern . since most of my main characters in my films are essentially lonely , this works rather well 另外，记录片式的长镜头拍摄手法正好能够表达戏中角色那种孤独的感觉。
With only 23 static , unhurried shots within the film , each scene then becomes a rich tableau for intimate glimpses into this small nuclear family s life 只这么一个小故事已令人觉得电影有希望。全片二十多个长镜头，一家三口都在小屋子活动。
However , life is not as easy as he expects . . . the most impressive thing of the film is ozu s humane attitude toward the characters of the film 此片不乏小津电影特色，如低于正常eye - level视觉的镜头摆位慢慢的节奏长镜头等等，不过最令人印像深刻要数小津的人道主义和同情心。
Despite the few chasing and fight scenes which isn t really a bad sign as the quality is still very good , most of the dramas are presented in a little slow - paced and patient manner 一般港产动作片都以节奏明快为主镜头比较富动感三岔口则刚刚相反。除了那几场追逐和打斗戏外编导运用了很多长镜头拍摄文戏。
Despite the few chasing and fight scenes ( which isn t really a bad sign as the quality is still very good ) , most of the dramas are presented in a little slow - paced and patient manner 一般港产动作片都以节奏明快为主，镜头比较富动感， 《三岔口》则刚刚相反。除了那几场追逐和打斗戏外，编导运用了很多长镜头拍摄文戏。
The best news photography occurs when the presence of the camera is not noticeable . photographers should be as unobtrusive as possible to avoid influencing events and consider using long lenses 最佳的新闻画面是在照相机不被（被摄对象）察觉的情况下产生的。摄影记者必须尽量避免影响正在发生的新闻事件，在一些场合可以考虑使用长镜头。
27th hkiff was not minimalist enough , kiarostami decides to completely dispense with dialogue , actors or camera movement in his latest . but far from being impenetrably austere , the iranian master has instead created one of his most poetic and humanistic works yet . each of the five zen - like static shots captures nature at its most glorious , from the driftwood washing up against the beach to the thunderous rumbles of rain upon the dark sea 基阿鲁斯达米去年完成的两部数码录像电影之一，是他海边写剧本时妙手偶拾的五个长镜头，长度十至二十多分钟不等，分别是：一海滩一截木头，随潮来潮往二海边路上人来人往，偶尔驻足离开，浪涛不停拍岸三冬日天空，大海，海滩大远镜，一群狗在远方走动四鸭子一只接一只由左走向右，再联群回头向左走五晚上的池塘，偶见月光倒影，时而漆黑一片，只闻蛙声此起彼落，然后打雷闪电下雨，最终黎明。
As " god s gift to festivals , " this brooding , meditative treatise on drug addiction is a singular vision not seen since the heydays of eastern european cinema . director fliegauf eschews fancy edits for long , circular takes that hover like vultures upon their prey . each meticulously constructed scene is accompanied by dissonant noises that unnervingly build upon the pervasive mood of despair 没有留恋首作掌声，次作一百八十度转身，向自己偶像，祖家的cult片大师bla tarr致敬，以近乎真实时间的长镜头，催眠式的声效与影机运动，捕捉毒贩衰到贴地的一天：第一个客仔是痴肥宗教领袖，再不上电便没法踏足讲坛；在病床五花大绑的朋友，用健身院换取一服永不醒转的海洛英；瘾起的旧爱，自爆女儿是他播的种。
