The Analysis Of Audio-visual Thinking In Screenplay

The language of the film is actually simulating the audiovisual perception experience people get in life.The application of audio-visual thinking is an important factor that distinguishes a screenplay from other literary works.The audio-visual thinking in the scriptwriter process enables the vivid story scenes to be vividly presented in the mind of the reader.Filmmakers have a relatively consistent grasp of the emotional tone,personality characteristics of characters and changes in narrative rhythm of films yet to be shot,which lays a foundation for the smooth progress of filming activities.The creation of a film’s sense of form,or the audio-visual language style of a film,is often regarded as a symbol of the director’s artistic ability.In fact,the audio-visual language style that the film finally presents to the audience was first formed from the script conception,and the audiovisual inspiration first emerged in the minds of the screenwriters.However,among the many studies on screenplays,few studies have discussed the features and methods of screenwriting from the perspective of audio-visual thinking.It seems that the audio-visual inspiration that emerged in the scriptwriter stage has not yet received wider attention and more in-depth and systematic research in the academic world.Based on the logic of film audio-visual language research,this paper divides the audio-visual thinking in film drama into three main parts to explore and analyze: visual thinking,auditory thinking and montage thinking.In the first chapter,this paper gives a general overview of the thinking of film plays.From the concept of film drama to the process of script creation,this paper makes a systematic analysis of the origin and the form of externalization of audio-visual thinking in film drama.The second chapter analyzes the use of color,namely the description of action,from the perspective of visual thinking of film plays,that is,taking image elements as objects.Through the text study of the color scheme of the characters and scenes in the film script,we can understand the character image and environment tone that the scriptwriter wants to create.Secondly,the description of characters’ actions and the change of camera’s viewpoint in the script can arouse readers’ imagination and understanding of the director’s intention of emotional expression.The third chapter analyzes the auditory thinking of the screenplays,discusses the sound imagination of the screenwriters in the writing process,and how these sound images represent the story characters and plots;The montage thinking of the fourth chapter is the summary and sublimation of vision and hearing.The application of montage thinking in film and drama is not only a rational creative technique and value expression,but also a perceptual artistic conception and abstract artistic expression,with infinite expansibility and infinite possibilities of interpretation.Different from the relevant papers that study the audio-visual language style of a specific case of film,this paper mainly focuses on the discussion of the logic,significance and characteristics of audio-visual thinking in film drama,aiming at the ontological characteristics of film drama and the methodology of film drama.This paper systematically analyzes the audio-visual thinking of film drama in three basic dimensions,thus providing a new perspective,mode and context for the practice and research of film drama by film practitioners.