About the long lens, Bazin said: “It allows people to understand everything without having to split the world into a pile of pieces. It can reveal the meaning of people and things without disturbing people and things. "The original unity."

Martan: "The specifications of the scene should be consistent with its specific content (the larger or closer the scene, the less scenery can be seen) and the dramatic content (the closer the scene is, the less scenery can be seen). The greater the dramatic content or ideological significance, the more consistent it is."

Ann Sarris: "The most remarkable close-up reflects the victory of emotion over reason."

Marr. Dan: "The close-up is one of the most mysterious and unique expressions of film."

Martin: "The most powerful way to demonstrate the psychological and dramatic meaning of a film is the close-up of a human face, and This kind of lens is also the most basic, final and most valuable embodiment of inner cinema."

Balázz once said: "The close-up of the film eliminates our ability to observe and perceive hidden small things. Obstacles, and reveals to us the appearance of things, in this way, it also reveals people."

French film critic and director Alexandre Astru: "In general, the development of film technology. History can be seen as the history of the liberation of the camera.”

Angle. Balazs: "The role of shooting angle is to give shape to everything. Even the same thing can form a completely different picture due to different shooting angles. This is the most powerful characterization method unique to movies. It is absolutely Not a mere representation, but a real creation."

Lindgren: "The director's task is to accurately choose the shooting point that is most effective for his purpose."

Public shot. Bela Balazs: "Our eyes become one with the eyes of the characters in the film, so the thoughts and feelings of both parties become one."

Soviet B. Ridan in " The book "Aesthetics of Film" says: "Color on the screen is just like on the canvas. It is not only a means of expressing images and appearance of things, but also plays an important role in explaining the inner appearance of the characters described. Color is an important means of psychological depiction of images."

Marcel Martin in "The Language of Film": "All physiological and psychological experiments prove that we are more. The value of color is felt, not the color itself. "Eisenstein once warned: "Color should not be as gaudy in the hands of artists as colorful calico or the skin of Easter eggs, but should have a screen shape. The rigor of the film, because there is summary and concentration, can give the audience a main emotion."

Swedish director Bergman once said: "There is no art more like music than film. "

Soviet film theorist Frerich believes: "The nature of modern film art is ultimately determined by the synthesis of pictures and sound language."

Abel? Gance: "What constitutes a film is not the picture, but the soul of the picture."

Pobook pointed out in "The Elements of Film": "The first thing to consider in any film is the theme. If the audience If you can't grasp what the film is about, it will be difficult to analyze, comment and study it.

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Ernest Lindgren: “On Film Art” “In fact, the actor’s performance itself is a means of drama and creation