Change Your Image
Hossein_Hamidi
His main profession is music.
But he considers himself a { Multi-disciplinary Artist }.
His experiences:
1- Music
2- Painting and Drawing
3- Poetry
4- Screenwriting and Decoupage
5- Cinematograph
6- Short story
7- Photography
He says:
I summarize the result of all these experiences in one word:{ Individual Aesthetics }.
حسین حمیدی اهل ایران و متولد ۱۳۳۶ در شهر اردبیل (آرتا ویل) است. حرفه اصلی اوموسیقی است. اما او خود را یک هنرمند چند رشتهای میداند. تجربیات وی در هنرعبارتند از:موسیقی، نقاشی وطراحی، شعر، فیلمنامهنویسی و دکوپاژ؛ داستان کوتاه ؛ فیلم سازی و عکاسی. او می گوید: حاصل همه این تجربیات را در این کلمات خلاصه می کنم: رسیدن به { زیبایی شناسی فردی }
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Sanma no aji (1962)
Visual Literacy
Peace; The continuity in stillness and aesthetics of Yasujiro ouzo captures the viewer so that we read his films to the end at his command.
He attracts and dissolves us with his high visual literacy!
He can be recognized by his minimalist titles.
In his first plans, he slowly leads the viewer and step by step we notice a certain simplicity. He never surprises the viewer and shows himself very calmly. Yes, he is a tiger that does not show its teeth! They say: If you are not a tiger; You try to show your teeth, but a real tiger never shows its teeth first! He takes us with him and suddenly in successive plans without any conversation; We combine calculated compositions with a fixed camera with very simple views of everyday and repetitive subjects. In my opinion, these plans without dialogue lead the viewer to the other side (next sequence) like a bridge or a passage.
Without a doubt, Yasajiro Ezu can be called a composition master.
He obsessively places his camera where it should be and films from a short height (he says somewhere: I look at the world from the height of Japanese people sitting on the ground).
Among the features of Ezo plans, I can mention the following:
1- The camera is fixed in 95% of the plans.
2- Excellent use of depth of field.
3- The unique use of movements inside the image and entering and exiting them. Such as: people / trains / shadows / light / and...
4- The use of the first/second/third/fourth curtain of the picture and sometimes with the opening of a Japanese sliding door in the depth of the square, the fifth curtain is also used.
5- Fast and non-standard Hollywood editing. He never uses Dizalu.
6- Unique use of linear and surface composition. No line ever goes out of the corner of the frame!
7- The soothing use of lights (turning them on and off) creates a kind of joyful mysticism.
8- Bold and excellent use of the horizon line in nature scenes.
9-Sensitivity in using vivid colors and colored grays.
10- Very detailed arrangement and mise-en-scène with a kind of elegance and personality to things.
11- Using rhythm by repeating it in a plan (both in terms of form and color), look at teapots/drinking glasses/clothes/chairs and...
12- Creativity in translating a busy scene into an orderly and calm one.
13- Using repetitive actors and repetitive and familiar scenes.
In my opinion, Yasajiro Ezu paid more attention to the image than to the sound, and this shows the profound visual literacy of this master.
H. Hamidi.
L'argent (1983)
Static Art
I can confidently say that this film is Robert Bresson's testament.
Bresson's ideas about cinematography are clearly seen in this film.
He has displayed the balance between form and content in his 13th film as well as his last film (Money).
1- The content or meaning of the film: He uses the short story {Fake Coupon} written by Leon Tolstoy as a basis for his last silent cry to show us the other side of the capitalist world.
Why am I writing silent scream?! Because he does not think about dynamic and active art that excites the audience and does not serve the box office of cinemas; Yes, he think static art; thinker The mini mall and the cinematograph thought and calmly conveyed its silent cry to us.
Sorrows, joys and silent cries such as: :
"Bologna Street Ladies"
"Destruction of a young girl named Mousht"
"The Fate of a Donkey"
Redemption of a holy pickpocket! »
"The awakened conscience of a capitalist man!" »
and money (this hidden god).
Robert Bresson does not blame anyone in his films. Yes; In the movie Money, no one is to blame except the very nature of money, which not only infects humans.
2- The form and shape of the film: Although Berson considered himself a painter, he said about color: Color is a deceptive element. Color plays a deviant phenomenon in this film.
The composition of sequences and plans is wonderful. The old pianist walks in the garden. A woman crossing the bridge to buy bread. The last shot, where the camera is still and on the left side of the image, curious people are looking at the center of the picture as the police take the killer out of the restaurant door. This picture reminds me of one of the French cartoonist Honoré Dumieux's designs.
I believe this great man from the rules he set; Six signs of cinematography, which are: imagination; Move ; Voice ; writing ; Music and editing. It has been well used.
Because in this article I cannot mention all the elements of the film; I just draw your attention to an excellent and magical editing. Despite watching carefully more than 25 times, I never understood the editing method: in the scene where the elderly woman takes a cup of coffee to the young man who is sleeping in the warehouse; He hits his brother (pianist man) and the man slaps the woman hard on the cheek. Here we hear the sound of a man slapping and we see the image of a woman's two hands holding a coffee cup going this way and that... a great editing has emerged which is a combination of sound and image that can only be created by A master is executable.
H. Hamidi.