A Brief Discussion of ‘Atmosphere’
As for the methods of directing, I have always felt that one principle should never be overlooked: if a film is to captivate the audience, it must assimilate the audience into the environment of the characters in the drama. To achieve this, I believe it is necessary to create the “atmosphere” (kongqi) of the film. I experimented with this in Night in the City and Life, and I continued to employ this method in Sea of Fragrant Snow. However, it is also possible that this method may give rise to certain misunderstandings.
In my opinion, there are four ways to create the “atmosphere” within a film. First, it may be achieved through the inherent capabilities of the camera itself; second, through the filmed object itself; third, through indirect suggestion; and fourth, through sound.
The camera’s eye is often more skillful than the human eye; therefore, different effects can be achieved using the camera. The camera angle can be changed according to the mood of the film, and the intensity of light can also be altered according to the emotions of the scene.
Combining mechanical techniques with the subject matter creates even more variations. For exterior shots, beautiful subjects are chosen from nature, and the effect depends on angle, time, and sunlight.
For interior shots, artificial composition is crucial, and the set designer plays a vital role. The organization of lines and the coordination of light are essential elements in creating “atmosphere.” Therefore, the set designer must understand the theme of the play and the environment of a particular scene, avoiding unnecessary objects and emphasizing the necessary elements. This, combined with cinematography, will undoubtedly yield excellent results.
I also feel that atmosphere may be emphasized through indirect suggestion. By “indirect suggestion,” I mean making use of surrounding objects in order to set off and reinforce the theme. I believe that the presentation of the dramatic environment itself is enough to focus the audience’s attention and spirit upon the screen.
I have used the above methods extensively. As for sound effects, due to the limitations of silent films, they could not be fully utilized, but I have also used sound film techniques to create some effects within the limits of what is possible.
To truly immerse the audience in the film, the arrangement of atmosphere is indeed necessary.
Published in Modern Screen (Shidai Dianying), November 1934.
Miscellaneous Notes
Kunqu and pihuang opera are the most mature forms of classical stage art in China. Yet when cinema first emerged in China, the theatrical form that most closely resembled film and most truthfully reflected real life was not classical Kunqu or pihuang, but rather the newly emerging and still immature form of modern spoken-drama (“civilized drama”, wenmingxi).
Imitation requires a certain degree of elementary skill. The earliest form of Chinese cinema thus appeared by inheriting the “art” of the civilization play.
Rather than saying that Chinese cinema was poisoned by civilization drama, it would be more accurate to say that it was nurtured by it. Had civilization drama not existed more than a decade earlier, Chinese cinema would probably have surrendered immediately to costume drama.
The shift of Chinese cinema toward costume and supernatural films occurred only after the decline of civilized drama.
The word “moviegoers” derives from “theatregoers.” Chinese cinema and its audiences both emerged out of the theaters playing civilized dramas.
Rousseau says in his Émile that mothers and nurses care too anxiously for the health of infants: they dress them warmly, wrap them tightly, and bind them layer upon layer, leaving their limbs no freedom at all. The only freedom left to the infant is the ability to cry.
Chinese cinema, under protection and care from all sides, sometimes cannot even cry.
Ms. Wang Ying once used the phrase “the dark film world,” as if making an allusion to alleged shadiness of film circles.
Unfortunately, outside this circle there exists an even larger circle, already pitch-black itself. The countless people within the film world are, after all, merely ordinary people among the multitude.
This summer, the film industry held its first tea gathering at the Zhaofeng Garden. Someone from outside the circle entered the gathering and gave a speech, offering subtle criticism and admonition, seemingly very concerned about the darkness within the film world. At the time, I felt deeply ashamed and pained. Then a strange thought occurred to me: why not gather all the people in the world into one great circle, and then have someone descend from beyond heaven to give a speech? Would that not be amusing?
Where there is darkness without light, light must be cast into the darkness. Workers in the film industry, take up your crosses.
There is a famous saying: “All art is propaganda.” If one does not distort the meaning of propaganda, then indeed all art is propaganda.
Some also say: “Film is a weapon.” At first I truly believed that film could kill people, but later I realized that I had misunderstood the word “weapon.”
The effect of film sometimes resembles a teacher giving lessons or a monk preaching sermons. Yet in the realm of education, it is but an actor; and in religion, merely a clown.
December 14
Published in Lianhua Pictorial, Vol. 5, No. 1, 1935.
sailuluo 赛璐珞 