七宗罪心理
- Abstract
This paper centers on the dark style of the film Se7en，which is christened as “film noir”.What Se7en interests and impresses me most is its film noir characters， surreal，nightmarish atmasphere and its disturbing visual style.This paper introduces some basic knowledge of film noir and emphasizes on the analysis of the dark style of Se7en from several aspects，including lighting，setting， and angle.
对电影七宗罪，被命名为“黑色电影”七宗罪。什么利益的黑暗风格本文中心，给我印象最深的是它的黑色电影人物，超现实主义，噩梦般的atmasphere及其令人不安的视觉款式。本文介绍了一些基本知识黑色电影，并强调对七宗罪的黑暗风格，从几个方面，包括照明，设置和角度的分析。
Key Words
film onir;dark; unease
电影onir;黑暗;不安
- Introduction
Se7en， a dark， grisly， horrifying and intelligent thriller， may be too disturbing for many people， I imagine. But if you can bear to watch it， you will see filmmaking of a high order. It tells the story of two detectives – one ready to retire， the other at the start of his career – and their attempts to capture a perverted serial killer who is using the Seven Deadly Sins as his scenario. Director David Fincher doesnt want his audience to be comfortable for a moment while watching “Seven.” Shaky camera shots， dark sets and a disturbing script that takes its characters to the extremes of emotion all contribute to the film creating a unsettled feeling that stays with you for a couple hours after the credits roll.
SE7EN，一个黑暗的，可怕的，可怕的，智能化的惊悚片，可能是太令人担忧了很多人，我想。但是，如果你能忍心看着它，你会看到一个高阶电影制作。它讲述了两个侦探的故事 – 一位准备退休，另外在他的职业生涯的开始 – 而他们的企图夺取谁在使用七宗罪作为他的方案中的变态连环杀手。导演大卫•芬奇不希望他的观众一边看很舒服一会儿“七”。摇摇欲坠的相机镜头，深色套在和一个令人不安的脚本，需要的人物情感的极端都有助于电影创造一个不安的感觉，保持与你的学分卷后的几个小时。
- literature review
The concept of film noir first emerged in 1940s France.Having been deprived of Hollywood films during the Germa occupation，French critics were finally able to see an numble of Hollywood films that had been made during the war years.The group of films that they saw shared a common visual style and a mood of cynicism，pessimism，and darkness，and they christened them “film noir”.
Film noir characters are morally ambivalent，that is to say ，it is often impossible to draw clear lines between the “good” and the “bad”，and the traditional distinctions(cops=good/criminals=bad)no longer apply.Police and law enforcers are frequently corrupt，or at least corruptible; criminals and lawbreakers may emerge as sympathetic figures;and victims are often themselves also villains.The protagonist is no hero;instead，he is an all-too-human figure who may both perpetrate(as well as suffer)some appalling abuse in the course of the film.
A surreal，nightmarish atmasphere characterizes film noir film.This mood is fostered by unexplained motives and confusing plot twists.It is often difficult to establish motives for characters’actions，and equally difficult to predict in which direction the plot will spin. The audience experiences the kind of uncertainty and disorientation，feeling in a dream.
The overriding theme of film noir is a fear of the future..The mood of film noir is that of loss，nostalgia，and trepidation.
黑色电影的概念在20世纪40年代France.Having被剥夺了热尔马占领期间好莱坞电影第一次出现，法国评论家们终于能看到战争年。集团的电影，他们看到在已经作出的好莱坞电影的numble拥有共同的视觉风格和玩世不恭，悲观情绪，黑暗的情绪，他们就给他们“黑色电影”。
黑色电影人物在道德上是矛盾的，也就是说，它往往是不可能得出的“好”与“坏”，与传统的区分清晰的线条（警察=好/罪犯=坏）不再apply.Police和执法人员经常损坏，或至少是腐败的;犯罪分子和不法分子可能会成为同情的数字;而受害者往往是本身也villains.The主角不是英雄;相反，他是一个全太人物谁可能都犯下（以及遭受）有些骇人听闻的虐待的过程该膜的。
一个超现实的，噩梦般的atmasphere特征的黑色电影film.This心情是无法解释的动机扑朔迷离的情节twists.It往往很难建立动机charactersactions，同样很难预测在哪个方向的情节会旋转培育。观众经历了这种不确定性和迷惑的，在梦中的感觉。
黑色电影的首要主题是恐惧的黑色电影的future..The心情是损失，怀旧，诚惶诚恐。
- Own analysis
Much of the distinctiveness of Se7en can be attributed to its skillful adaption of the conventions of film noir to the contemporary world.There is a common moral ambiguity，which casts heroes as potential villains and villains as potential heroes;a trepidation about the future and nostalgia for a more civilized world that exists only in the imagination;a puzzling and disturding narrative which andermines one’s expectations;and the characteristic noir style of perpetual rainfall，low-key lighting，and a subdued colour palette dominated by dullish grays，murky browns，and putrid.It is a classic film noir，but with a twist—a serial-killer narrative that raises import contemporary questions about the respective roles of morality，culture，and the media in our postmodern urban world.
A central feature of most film noir and neo-noir is moral contradiction.It is frequently difficult to draw clear lines between good and bad，or state with certainty who it is that occupies the high maral ground.This is certainly the case with Se7en，in that neither Mills nor Somerset demonstrates unimpeachable standards.In their professional lives，for example，both are prepared to take immoral (and even illegal)measures to achieve their goal of arresting and prosecuting John Doe.Somerset bribes an associate in the FBI for access to the library records of borrowers—of course，the fact that the FBI even keeps such records is of questionable legality—and together they use this illegally gathered information to find out Doe’s address.When they reach his apartment，Mills simply kicksopen the door，rather than follow the correct and legal procedures，and first get hold of a search warrant.Aware that illegally gathered information would be invalid in a court of law，they then proceed to bribe an poor local resident to make up a story that will exculpate them.
The victims of Doe’s cruel crimes are definitely no better.The obscenely fat man is an insult to human dignity;the greed of Elias Gould is fed by the money earned from defending rapists and murderers in court;Theodore Allen，punished for sloth，is actually a drug dealer and maker of horrific sexual crimes;the blonde woman is a prostitute in a seedy sex club;and the model was so vain that she could not live without her good looks.
“The over-riding noir theme is a passion for the past and the present，but also a fear of the future.The noir hero dreads to look ahead，but instead tries to survive by the day，and if unseccessful at that，he retreats to the past.Thus film noir’s techniques emphasize loss，nostalgia，lack of clear priorities，insecurity;then submerge these self-doubts in mannerism and style.In such a world style becomes paramount;it is all that separates one from meaninglessness.”(Schrader，Paul.1999.Notes on Film Noir.) Se7en employs many of the classic film noir/neo-noir techniques to create its disturbing visual style.The main techniques and their effects are shown below.
The look of “Seven” is crucial to its effect. This is a very dark film， the gloom often penetrated only by the flashlights of the detectives. Even when all the lights are turned on in the apartments of the victims， they cast only wan， hopeless pools of light. Gary Wissner， the art director， goes for dark blacks and browns， deep shadows， lights of deep yellow， and a lot of dark wood furniture.
Film noir/neo-noir relies on the play of light and darkness for its characteristically oppressive mood，and se7en is no exception.To increase the luminosity of light tones and the density of the darks，director of photography for se7en，Darius Khondji，employed the seldom-used method of silver retention.The contrast is further exaggerated by the use of mise-en-scene:shadows，silhouettes，and flashlights probing into the envenoping darkness are the visual hallmarks of the film.Darkness thus becomes a symbol of that which is hidden beneath the surface;as Amy Taubin remarks，the film’s visuals”literalize the struggle of bringing things to light”.Yet while film noir/neo-noir tends to use darkness to create its sense of unease，this is not inevitably the case.In the final sequence，se7en relies not on darkness but on brightness—the scorching light of the desert—to induce asense of fearful anticipation.Khondji puts it this way，”For me，when I read the script，scary had to do with darkness.But it’s not always the case，sometimes it’s to do with a lot of light and no shadow at all“`I thought that the scariest thing to suggest would be that there’s nowhere to hide.”
As in most film noir/neo-noir，the setting is the city.Even when，in the final sequence，Mills and Somerset drive out into the desert，the city and its objects are never far away—it is theere in the pylons that ferry electricity to and fro，and it is there in the helicopter circling overhead.Scenes are generally filmed either indarkly lit interiors，or outside when it is raining.This predilection for city settings and dark interiors contributes to the prevailing mood of claustrophobia and entrapment.
The low-angle shot is employed with great regularity，and has the effect of making buildings，ceilings，and human figures seem to loom down on the camera(and audience) in a sinister，theatening manner.Wide-angle lenses exaggerate this effect still further by distorting lines of perspective.Compositionally，lines are used to split the screen diagonally;they are used most prominently in this way in the final desert sequence where the electricity cables crisscross the screen.
Se7en breaks the 189-degree rule in the scene in which Somerset and Mills drive Doe into the desert.One minute the camera is filming from the left，the next from the right，then from the back towards the front，and then from the front towards the back.This creates an effects of dislocation and visual confusion that is part of the overall sense of unease of film noir.
“Even in close-ups，fencher keeps an uneasy distance(he favours low-angled shots，rather than eye-of-God overheads).The camera sometimes seems to float，sometimes seems dragged as if by sn undertow.The extremely shallow focus is a way of controlling the view’s eye，making you look at waht you don’t want to see and suggesting that there;s something worse that you just can’t get a grip on lurking on the periphery.”(Taubin，Amy.2000.The Allure of Decay.)
大部分七宗罪的独特性可以归结为它的纯熟黑色电影对当代world.There公约的适应是一个共同的道德模糊性，施放英雄作为潜在的坏人和恶棍作为潜在的英雄，一个对未来和怀旧诚惶诚恐一个更加文明的世界，只存在于想象中，一个令人费解的disturding叙述这andermines人的预期;而永久的降雨，低调的照明特性的黑色风格，并通过昏暗的灰色，阴暗的棕色为主的柔和色彩的调色板，并putrid.It是一个典型的黑色电影，但与一捻一个串行杀手故事引发进口关于道德，文化在我们的后现代世界城市的各自作用和媒体的当代问题。
大部分黑色电影和新黑色的核心特征是道德contradiction.It往往很难得出肯定是谁占据高MARAL ground.This是肯定的情况下，与七宗罪之间的好的和坏的，或国家线条清晰，在既不米尔斯也萨默塞特演示无懈可击standards.In他们的职业生涯，比如，两者都准备采取不道德的（甚至是非法）的措施，以实现逮捕和起诉约翰Doe.Somerset他们的目标贿赂联营在FBI进行访问到图书馆记录的借款人 – 当然，事实是，美国联邦调查局甚至保持这样的记录是有问题的合法性，和他们一起使用非法收集的信息，找出Doe的address.When他们到达他的公寓里，米尔斯只是kicksopen门，而不是遵循正确的和法律的程序，先弄个是非法收集的信息将在法庭上无效的搜索warrant.Aware，他们然后进行贿赂的当地贫困居民进行了一个故事，将他们开脱。
Doe的残酷罪行的受害者是绝对没有better.The可耻的胖子是侮辱人的尊严;埃利亚斯•古尔德的贪婪是由卫冕强奸犯和杀人犯在法庭上赚来的钱喂;西奥多•艾伦，惩罚懒惰，实际上是毒贩和恐怖性犯罪的制造者;金发女人是在一个破旧的性爱俱乐部妓女;而模型是如此徒劳的，她不能没有她的美貌。
“压倒一切的黑色主题是过去和现在的热情，更是一种恐惧future.The黑色英雄很怕向前看，而是试图通过一天的生存，如果unseccessful在那，他退缩到past.Thus黑色电影的技术强调的损失，怀旧，缺乏明确的重点，不安全感;然后淹没这些自我怀疑的矫饰和style.In这样一个世界的风格变得极为重要，它是所有分离一个来自无意义“（。施拉德，在黑色电影。）七宗罪Paul.1999.Notes采用了许多经典的黑色电影/新黑色技术，创造了令人不安的视觉风格。主要技术及其效果如下所示。
“七”的外观是至关重要的的作用。这是一个非常黑暗的电影，往往只由侦探的手电筒穿透黑暗。即使当所有的灯都在受害者的公寓开启后，他们只投婉，光无望池。加里Wissner，艺术总监，也适用于深黑色和棕色，深的阴影，深黄的灯光，以及大量的深色木质家具。
黑色电影/新黑色依赖于光其特征性压迫的心情玩和黑暗，SE7EN是没有exception.To增加了浅色调的亮度和深色的密度，摄影的SE7EN主任，大流士Khondji，就业银逗留的对比很少使用的方法，进一步夸大了使用濑恩场景：阴影，剪影，和手电筒探测到envenoping黑暗是film.Darkness的视觉标志也因此成为一个符号这是隐藏在表面之下，艾米Taubin言论，影片的视觉效果“literalize把事情光的斗争”.Yet而黑色电影/新黑色倾向于用黑暗来创建不安的感觉，这不是必然的case.In最终序列，SE7EN靠的不是黑暗，但对亮度的光线灼人的沙漠 – 诱导害怕anticipation.Khondji的asense是这么说的，“对我来说，当我读了剧本，可怕不得不做与darkness.But它并不总是如此，有时是做了很多的光，也没有影子all“`I认为最可怕的事情，建议将是有藏身之地。“
在大多数的黑色电影/新黑色的设置是city.Even时，在最后的顺序，米尔斯和萨默塞特开车进入沙漠，城市和它的对象是从不远处，这是theere在塔那渡轮电力来来回回的，也是有直升机盘旋overhead.Scenes一般拍摄或者indarkly点燃内饰，还是外面当它是raining.This偏爱城市设置和黑暗的室内设计有助于幽闭恐惧症和截留的当时的心情。
角度拍摄，使用了很大的规律性，并具有使建筑，天花板的效果，人物似乎笼罩下相机（与受众）在险恶的，theatening manner.Wide，广角镜头夸大这种影响仍进一步通过扭曲perspective.Compositionally的线，线用于对角分割屏幕;它们用于最突出地以这种方式在最后的沙漠序列，其中所述电力电缆纵横交错屏幕。
SE7EN打破在场景中萨默塞特和Mills驱动Doe的进desert.One分钟照相机从左侧拍摄，接下来从右侧，然后从朝向前后面的189度的规则，然后从前面对back.This造成混乱和视觉上的混乱是黑色电影的不安的整体感部分的影响。
“即使是在近距离拍摄，fencher保持一种不安的距离（他支持低角度的拍摄，而不是眼睛的神开销）.The相机有时仿佛漂浮，有时似乎拖累仿佛SN undertow.The极浅的重点是控制视图的眼睛，让你看看你不希望看到啥子，并暗示有一种方式; S更坏的东西，你就不能得到对潜伏在周围的握“（Taubin，艾米。衰变2000.The倾城。）
- Conclusion
All in all，Se7en deserves all the reputation it has received.It gives us such a shock by successfully employing many of the classic film noir/neo-noir techniques.Its lighting，settings，shotting and scenes all together make the film worthy of the name of perfection.
总而言之，七宗罪值得所有的名声已received.It给了我们这样的冲击，成功地采用了许多经典的黑色电影/新黑色techniques.Its照明，设置，shotting和场景一起拍这部电影值得的完美的名字。
以上为google翻译，谁让我不会呢~~
Bibliography
[1]Schrader，Paul. Notes on Film
Noir.Shanhai: Shanhai Foreign Language Education Press，1999
[2]Taubin，Amy.The Allure of Decay.
Shanhai: Shanhai Foreign Language Education Press，2000
[3] 马爱英(Ma Aiying).《中英文化翻译》.北京：科学出版社，2006
