If a documentary is an independent discourse unit, then in addition to the decisive lens language, sound language is also an important part of it. The sound language includes three parts: commentary, concurrent sound and soundtrack, which mainly plays the role of supplementing narrative, portraying space, rendering emotions, and increasing the sense of scene.
From the experience of art viewing, people's attention to the true feelings of the picture and the sound are closely related. It is not just a supplementary means, but has a complete image.
The Chinese Palace Museum documentary works reflect strong lyrical colors and profound humanistic qualities. has a large part of this credit comes from making good use of the effect bonus of sound language.
From the perspective of commentary, the commentary of early Chinese documentaries is explanatory text, pure information output and introduction, with the purpose of popularizing historical knowledge to everyone.
The commentary of the new era works represented by "Forbidden City", " Forbidden City 100", "Louvre Meets the Forbidden City" and "Taipei Forbidden City" has undergone a change.
For history, we take a more explanatory perspective. This is a process from explanatory essay to prose. Explaining history and narrating history clearly adds the role of human beings as the subject.
Some legends, stories, including myths, are included in it. What is important is that such an explanation space is open. It shows an invitation to invite the audience to think and discuss together. For example, the first episode of the commentary of the Forbidden City sets the tone of the whole film: "Who created history and who created the great civilization in history.
The commentary of the Forbidden City is full of thoughts and questions throughout the past and present. This is a repeated sentence pattern. Two questions with the same sentence pattern throw questions at the beginning of the film and throw them to the audience. These two questions do not need to be answered immediately.
After watching the complete film, the audience will also find their own answers in different places. It is the creator's question to himself, and it is also the introspection of a nation and history about itself, rather than the name of the opening chapter, and say bluntly to me. What to say?
The commentary of "The Forbidden City" has changed the explanatory straightforwardness and simplicity, and has also stopped the overly overflowing lyricism. Instead, it narrates history more thoughtfully and restrainedly, and has drawn corresponding beauty on the heavy cultural level.
In addition, the commentary also avoids clear terminology, such as narrating "Chinese people" as "people living on this land, interprets "festival" as "still continuing the tradition since occupation". The narrative method of reveals the inner cultural meaning of the actor's subject, and thus is close to the audience with a homologous cultural mentality.
This is a kind of thought that is close to humanistic psychology and a very emotional narrative. Although the soundtrack in the Forbidden City documentary is not as famous as "Memory of the Forbidden City", it is also a classic work. The musical styles of both are as melodious, profound and grand as one. It has both the sadness of history and the grandeur of a great country.
is very consistent with traditional aesthetics in handling sound and emotions. It is not blindly grand and solemn, nor is it sad or lingering, but is more elegant and gentle, with a neutral beauty.
The uniqueness of traditional Chinese music does not lie in the selection of musical instruments, but in the aesthetic tendency in melody. And whether it is Western wind music, string music, or Chinese folk music, they are suitable for use in the film, complementing the pictures and commentary.
The soundtracks in several Chinese documentaries are not single and repetitive, but will be adjusted in accordance with the picture, either melodious, graceful, grand and solemn, and flexible. Judging from the sound of the same period, everything is based on serving the image of the Forbidden City as its top priority.
The most typical example is the opening sound of each episode "The Forbidden City", the noisy machine operation and the sound of the car whistle, slowly turning into a mixed sound of clocks and door opening. As the visitors appear, it turns into a grand drum beat, and then the panoramic view of the Forbidden City appears, and then the model of the Forbidden City, the drum beats are mixed with metal sounds, from mixing to clear rhythm. Finally, the yellowed background falls with the two big words "Forbidden City", and the sound gradually weakens.
It goes the opposite way, avoiding the folk music in common sense. opens the door to the Forbidden City and the heart of the audience with such a "heavy bass" that knocks on the heart. opens a door to history for the audience in the hustle and bustle of modern cities, hoping to find the place of sustenance in the heart.
