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"Dark style", literally, is a style that is dark and dark. Pen? Interesting? Pavilion wWw. ｂiquge。 ｉｎfo

Although this term is quite unfamiliar to the audience compared to the current mainstream films, "dark movies" have been dormant in the film industry for a long time, and in the previous film circles, audiences liked to call similar films expressionism, B-movies, gothic films, or film noirs.

Speaking of which, Duke is no stranger to this style, and "The Matrix" also has this style.

It is difficult to verify the origin of the "dark style", because evidence of the existence of the "dark style" can be found in paintings and literary works such as Goya's series of black paintings, Bruegel the Elder's Triumph of Death, Boccaccio's collection of stories, Decameron, and so on.

It's just that at the time, it wasn't called "dark".

In the movie, Duke's post-production "The Dark Knight" is undoubtedly a representative, if you look through the history of Hollywood according to this style, it is not difficult to find that as early as "M is the Murderer", Carl? Theodore? Dreyer's Vampire and F.W. Mönnau's Nosfalatus have elements of a "dark style".

Not to mention the kind of film noir that deliberately shows the poor streets, the sinister nature of human nature, and deliberately puts the scenes and stories in the dark night.

In Duke's eyes, the dark style is the same as film noir, but it is just one of the branches that the film has forcibly branched out.

Undoubtedly, the former Christopher? Nolan is a key figure in the dark style of films that can really enter the mainstream film industry, and the dark style has even become synonymous with high style.

This style is unique in superhero movies, and has directly or indirectly brought about two trends - first, under its contrast, films such as "The Avengers" and "Iron Man", which follow the mainstream commercial blockbuster style, appear more joyful and popcorn-like; Second, after "The Dark Knight" brought depth and style to DC Comics and Warner Bros., the entire DC universe had to follow a unified style and values, so "Superman: Man of Steel" was also forced to add a "dark wind" to some extent, which was not too appropriate.

As for "Batman v Superman", the dark tone was determined at the beginning of the project.

I want to achieve this style. One is setting and shooting, and the other is post-production.

Actually, whether it's Duke, or Nolan in the past. The Dark Knight was mostly filmed during the day, and post-production was crucial to achieving the dark atmosphere of the picture.

Although I have experienced a gothic film like "The Matrix", this style is still relatively new to Duke's post-production team. This also determines that the speed of post-production will not be fast, and Duke has to strictly control the production.

No one is born well-versed in all styles of film, not even Duke, and even though It's Time to Go to War has given him and his team some experience, he's meticulously and meticulously mastered every aspect of post-production.

In order for the post-production team to follow this style, the first thing to do is to understand what the characteristics of the dark style are.

Dark, refers to the tone of the picture in these movies, which is artificially darkened, even those scenes that take place in the daytime are dark and damp.

Of course. In these movies, a lot of the plot takes place in the night.

The black shows that the theme of these movies is black, and the story is often related to dark, morbid, weird, violent, bloody, mysterious, religious, alternative and other words, although the main body of the story of many movies is positive, punishing evil and promoting good, but in the development of the story, the above elements are magnified and exaggerated, thus producing a "black" effect.

However, even if it is a man-made concept, it needs to follow certain rules and styles to be valid. In the dark wind movie, in Duke's view, there are roughly a few characteristics.

First of all, the story is dark. To a considerable extent, there will be a certain morbid element.

Most of the main characters, whether positive or negative, will have the shadows and traumas of their childhood, such as Bruce? Wayne.

This shadow and trauma accompanied his maturity and eventually became part of his values, and this trauma would cause him to show himself in another "sick" image, such as the scar and costume of a clown.

What's more. The antagonist's quest for revenge is not about retribution or revenge, but rather a ritual of awakening the masses that involves violence and bloodshed, and their violence is largely not about personal past and vendettas, but about some kind of redemption and revelation.

Such a villain is like a clown, breaking through the general sense of "bad guy", he has the same speculative and philosophical color as the positive character, so that the positive character is in a dilemma many times, such a swing of values and thinking about justice and evil, can be described as a kind of darkness in the aesthetics of the movie.

Secondly, the religiousness and the resulting sense of ritual, mystery, cult, incompleteness, and otherness are often the characteristics of the sensory and narrative elements in these films.

Such a setting is actually just a process of self-healing and ability upgrading, but driven by the dark wind, a bridge that could have been full of vitality will definitely become a plot of "climbing up from the mass grave", and the hero has to go through a series of events to wash away his own concept in the process of becoming a hero, and then painfully choose to maintain the status quo.

Regardless of their perceptions of the world, whether the world needs to be swept away and restarted, heroes will always follow the most universal values to make the least bloodshed choices.

And in many more films, the dark style is a visual element of the embodiment of "300 Warriors," "The Matrix" and even "Batman: Time to War"—rather than the dark values of the film itself.

This dark style of visual effects implies the style elements of the MV to a certain extent, including the lens language and editing techniques of the MV, and fully reflects the effect of "spectacle" in the coordination of scenery, color grading and overall production.

If you go back to the roots, such visual effects come from painting, expressionism, Gothic, and many modern and contemporary oil paintings.

These elements that can be reflected in the shooting come more from the actors' performances and lines, and in post-production, if those brightly lit shots are successfully integrated into the dark style, it is a problem that Duke, the director, should consider.

Of course, there is another question that he has to consider, this is also Doug? Walter's biggest concern at the time was whether the audience would be comfortable with the style.

If it was at the beginning of the century when superhero movies were on the rise, Duke wouldn't be able to confirm it, although Tim? Burton's films also have a distinctly dark style, but compared to "The Dark Knight", the dark style of "Batman" and "Batman Returns" can only be said to be trivial.

Everyone in Hollywood knows that movies are deeply affected by the social environment, and some successful movies in the future are likely to fail if they move forward a few years, so Duke has always been cautious when treating the Batman series, and is also paying attention to the changes in the film market environment.

In fact, it is not difficult to find that after experiencing the bombardment of many superhero movies, the audience's sense of expectation for those comic movies that understate the plot and only focus on whether the CG is realistic is decreasing to a certain extent, such as alternative superheroes like "Iron Man", which have been welcomed.

Similarly, this kind of superhero movie with serious film characteristics and creative tendencies can be said to be born in accordance with the trend.

Of course, in such a dramatized plot-dominated movie, the direction of the characters is positioned in the dilemma of "alternating good and evil", and a strong logic and speculation are placed for the villain, coupled with some spectacle displays and stories that take place in the night, which can bring a fresh excitement to the audience.

In this style of film, the villain is also the key, and if the villain is just a face-painted character in a Marvel movie, the style will be unbalanced.

As a result, villains are often similar to the decent ones, and the master and apprentice use their own ideas to transform the society, and for this purpose, they do not hesitate to use shock therapy of "sudden death" to treat the society.

This naturally raises the level of the villain, or the forced character.

Even how long the future superhero can maintain a strong development, to a large extent, is to look at the villain.

In the first Batman movie, a certain dark Tim was also added? Burton, what he specializes in is a kind of gothic means of expression.

Under the revisionism of Hollywood, this kind of expression has little to do with the story itself, but about the character's dress, set, and makeup, and the scenes of his "Batman" and "Batman Returns" are almost shrouded in darkness, and the story involves death, paganism and other gothic and dark essential elements.

This kind of surreal, futuristic, mash-up with Burtonian characteristics is actually different from the style that Duke wants to achieve.

What Duke wants to achieve in post-production is that "The Dark Knight" can completely break away from the category of comic movies and exist as a first-class film.

If you consider it from the perspective of the movie, what Duke should do in the editing is to try not to use the original comic book as a text, but only borrow the relationship between the characters in the comics, reshape the main line of the story, and use other methods and storytelling skills to make the finished film of "The Dark Knight".

This is a bad thing, and if there is a problem with the quality of the movie, it is bound to drown in the saliva of manga fans.

But this is also a good thing, free from the style restrictions of comics, the director can swing more freely, so that under the contradictions and conflicts of the storyline, the dramatized ** has more tension. (To be continued.) )

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