We ended at 42:37 in class.
Your Looking at Movies textbook has a nice quote about Vertov and his film on page 428.
Vertov shows us how to frame reality and movement: through the human eye and the camera eye, or through windows and shutters. But to confound us, he also shows us--through such devices as the freeze-frame, split screen, stop-action, slow motion, and fast motion--how the cinematographer and editor can transform the movements of life into something that is unpredictable. He not only proves that the camera has a life of its own, but also reminds us of the editor, who is putting all of this footage together. Reality may be in the control of the artist, his camera, and its tricks, but it also finds definition within the editor's presentation and, ultimately, the viewer's perception.
In your first well-developed paragraph, please discuss this quote in relation to a five minute piece of Man With a Movie Camera. Be sure to describe shots cinematically, as if I've never seen the film before. Discuss elements of editing, such as the juxtaposition of shots, rhythm, montage, etc.
In your second well-developed paragraph, discuss this quote in relation to a film of your choice. Try to be as specific as possible in your descriptions and speak cinematically when you discuss the film. If you'd like to come into the library during a free period to watch a clip of a film I have that you've seen, please see me. Remember: the earlier the better.
As described in LAM, Vertov's revolutionary work in “Man With a Movie Camera” demonstrates the power that the editor, cinematographer, and even the camera itself have over the presentation of reality in films. Their work can manipulate this reality, transforming seemingly mundane life occurrences into unpredictable art. Vertov highlights the importance of their collaboration in films through his inclusion of the filming and editing processes in addition to remarkable shots filmed through the camera’s lens. An example of this is a scene beginning around 20:17, which not only highlights the power of the film, cinematographer, and editor, but also exemplifies Vertov’s never-before seen editing techniques. The scene begins with a wide shot in which the cinematographer is at the left of the frame and another car is at the right. The car at right begins to move, and the cinematographer follows in his car, camera in hand. From there, Vertov chose to edit together a series of shots, alternating between wide shots of the cinematographer (on left) filming the carriage on the right and shots of the carriage by itself (as if through the previously seen camera’s lens). This demonstrates the power of the cinematographer to control what we see. A third, seemingly unrelated, group of shots is added into the sequence as well. These shots are of the bottom or side of a train, which further illustrates the power of the cinematographer as we saw him placing a camera in a hole near the train tracks earlier in the film. Although the content remains the same (the camera man filming, the carriage being filmed, and the train) each transition brings a new angle or relationship between the camera and its subject. This sequence continues until 22:01 at which time Vertov introduced the editing technique of a freeze frame, freezing a shot of the horse (pulling the carriage). At this time Vertov’s focus switches and he begins to highlight the power of the editor. A series of still photographs follows, which is interjected with shots of a little girl as seen on processed film. This culminates in an eye level shot of about twenty canisters of processed film, which then cuts to a shot of the film spinning on a machine. Finally, the editor herself appears. We then see a high angle shot of film moving by, ultimately being cut by scissors. There is then a series of shots alternating between medium shots of the editor cutting and pasting to high angle seeming point of view shots of the film being edited. Then the edited film begins to move, demonstrating the editors ability to create intended movement through the editing together of different still frames. Vertov then highlights the power of the camera, showing the audience shots of the camera moving juxtaposed next to the shots which it apparently filmed. The cycle, completed in under six minutes, is consistently repeated throughout the film. Each cycle showing the power of collaboration.
ReplyDelete(second paragraph b/c post was too long...)
ReplyDeleteVertov’s decision to incorporate different aspects of film making into “Man With a Movie Camera” was made possible by his revolutionary editing, in which he used, freeze frames (discussed above) as well as split screens and jump cuts to create a fast rhythm. This editing has influenced many films, including “Run Lola Run.” This film follows Vertov’s example as many shots of different things are edited together to create an anxiety-producing effect. Also similar to the editing of “Man With a Movie Camera” is Tykwer’s use of split frames. He does this in an effort to show side by side parallel actions, as exemplified by shots of Manni and Lola, who, although separated, are shown side by side to demonstrate their connection. The editing of “Run Lola Run” also makes the film unpredictable. The graphic match cuts, transitioning between Lola’s first and second runs (as well as the second and third runs), was an editing technique used to help a seemingly impossible action (going back in time) flow. The editing, with short shot length and discontinuity (also found in MWAMC), helped to increase the suspense in the film, as the editor intended. Demonstrating the true power that the editor possesses over the feeling of the film.
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ReplyDeleteLooking at Movies describes how it takes a “village” to create something that is beautiful, and unpredictable cinematically and narratively. It is up to the director/ cinematographer, camera, editor, and viewer to transform these usual situations into something that is not so usual- into art. Vertovs use of fast motion, slow motion, freeze frames, jump cuts, split screen etc., were all completely devised by himself and abnormally revolutionary. In the opening scene, you right away see the camera and director. It is a split screen, which is hardly recognizable unless fully analyzed, where the director is with the camera on a mountain, and the lower half of the shot is a still close up on the camera itself. To the eye, it looks as if the director and camera are physically standing on the camera, which is perhaps what Vertov was trying to accomplish. The scene moves along as the camera presents wide shots, and medium shots of an empty auditorium. These shots last anywhere from about ten seconds to one second, which shows how Vertov employed a wide variety of different tools. This presentation of the space makes the atmosphere very realistic and relatable. The camera is mostly static, which one could argue would make it a closed frame, but there is actually a great deal of understanding of the outside would. Later in the film, the viewer in fact sees certain aspects of this world, which is merely fantasized by them in the first scene. The next shot is of the theatre, or auditorium doors opening as people flood in. The camera alludes to the fact that it is a full house, but after learning about the tricks to film I can see that this may not actually be the case. Here, the editor and cinematographer worked together to create a false sense of reality within the viewer. Whether or not every seat is actually filled, the camera is used to make is seem as so they are. Before the performance starts the camera shoots to a few different instruments and players. The use of high angle, ariel view, close-up, long shot, and eye-level view are all things that Vertov used, in just a matter of seconds. Also, the use of jump-cuts in this first scene allows the shots to flow, and creates a fast rhythm. As the orchestra begins to play, the camera shows the camera man filming the performance. This aspect used throughout the entirety of the film is implemented to clearly represent how everything behind the scenes is just as important as what is on screen. The collaboration of anyone involved in the film process is incredibly important in making an unpredictable (as mentioned before) and realistic work of art.
ReplyDeleteSplit screen is something that greatly correlates with MWAMC as well as my example, Woodstock. Split screen is used in both films to fabricate an idea that the screens frame is a seamless view of reality. Even though Woodstock is a documentary, the realism idea can still be miscommunicated to anyone who was not actually in attendance. Split screens serve almost as something the human eye would really see, or something to help the viewer see that otherwise would be impossible. Another film that is easily compared is Run Lola Run. This films editor implements freeze frame, match cuts, a much similar rhythm to that of MWAMC, and split screen as well. These films, as well as many others, are edited to allow the audience to enter their world, whether it is real or imaginary.
Before the editor of “Man with a Movie Camera” tied the shots together, each individual shot was completely meaningless –which is the case for just about any movie. In this way the editor is just as important as the cinematographer and even the director because they take the shots and images captured by the other two and create the film itself. In “Man with a Movie Camera” there is one part that begins with a split screen of a trolley car moving (on the top of the screen) and a first-person shot of something moving forward on the street. Without the use of the split screen to juxtapose the two than the viewer would have no idea what that both shots have to do with the same trolley car; one a third person view of it and the other being shot as if the camera was in the trolley car. After that follows an extremely chaotic and quick cutting series of shots of what appears to be wheels turning, then smoke coming out of an exhaust, then a man carrying equipment; all three of these shots cut back and forth between each other that they almost overlap and dissolve into one another, which is very disorienting to the viewer. The editor is truly the only one who has the power to disorient the viewer. Next comes a first person POV of the street as the camera moves along; then it cuts to a shot of the hood of a car, which allows the viewer to know that the man “with a movie camera” is now in a moving vehicle. After there is a shot of the camera itself; then the previously shown disorienting shots are shown in slow motion, allowing the viewer to get a better view as to what they are. With this power the editor can, for better or worse, confuse the viewer and tell the story cohesively – and often times simultaneously.
ReplyDeleteI think one of the strongest examples of how the editor can control the presentation of the film, and use this advantage to trick the viewer’s perception is by John Ottman with “The Usual Suspects”. The entire film is like a puzzle, which the viewer must string together after (or before, although it would be difficult) the conclusion of the film because the editor shows events out of order purposefully. The mystery of the film is the identity of Keyser Soze and the film center around an interrogation and flashbacks of the events as the person under interrogation tells them. Without giving too much away, I would say that the final scene of the film is where the editing really shines, as the truth is revealed in just about three minutes – everything that the viewer knows about the film is contradicted in those three minutes, and I don’t think that it would have been possible to do so without the editor. At the moment of realization by the detective we get different shots that each reveals a truth and the dialogue of different parts of the flashback are heard (in the detective’s mind). And we see the man under interrogation, whom the viewer believed to be crippled, shift seamlessly on the screen to his real self. Although the screen writer definitely played a major part in creating this mind-blowing film, the editor is able to make it accessible on the screen and allow the entire film to be an enigma to the audience.
The quote from Looking at Movies is careful to give proper recognition to the editing that contributes to making “Man With a Movie Camera” such an important film. Personally, what began to make the movie so entertaining was the clever use of juxtaposition throughout the film. Thus, my scene begins at 25:13. The first shot is an aerial view of a busy Russian city with multiple lanes of traffic. The shot changes to a low angle shot of what appears to be a construction crane swiveling in the wind. The viewer is next presented with another aerial view, this time slightly closer to the street and in the right of the screen there is a clear view of a large camera tilting down. Quickly, the shot changes to an eye level medium shot of a couple applying for what is revealed to be a wedding registration. The next shot is the same aerial shot as before, again featuring the camera. This time, however, the camera pans right. The shot changes to the same view of the people signing the wedding registration. The next shot is again of the crane swiveling. The next shot is an eye level medium shot the people smiling at each other and the official in charge of the wedding registration. The camera cuts to the crane turning again, then back to the couple as they leave the room. The editor then cuts back to the swiveling camera above the aerial view of the city. This time the camera quickly swivels around in the opposite direction. In another eye level, medium shot we see a couple at the registration desk. However, a close up of the certificate the official is filling out reveals that they are filling out divorce registration. Their demeanor is in juxtaposition to the earlier couple who were smiling; this new couple is frowning and the woman looks extremely hurt and embarrassed. The camera dollies in a medium close up into the woman’s face, then cuts back and forth between her face and her ex-husband’s face as they argue, ironically. The next shot is a split screen, both shots are filmed via Dutch angles, and contain shots of the backs of moving trolleys. The camera cuts back to the woman and man filing for divorce registration. The next shot is an aerial view of trolleys moving around a corner. The next shot is the man and woman filing for divorce registration. Then the viewer is introduced to an eye level, medium shot of a woman mourning at a tombstone. Cut back to man and woman. The camera cuts back again to the woman crying and then cuts to a shot of a funeral procession. We then see a low angle shot of a bride and groom walking down steps. Then the camera cuts to a high angle shot of a woman in labor. Eye level shot of front of hearse. Eye level shot of bride and groom getting into a buggy. High angle shot of woman in labor. Eye level shot of bride and groom in carriage, medium shot. The camera cuts back to the large funeral procession turning a corner. The camera cuts to an eye level view of the woman giving birth. The camera cuts to two large buildings then to an high angle shot of the midwife washing the newborn baby. Cut back to low angle shot of buildings. Next shot is a high angle shot of exhausted mother lying in bed, the midwife brings her the baby. Cut back to buildings being filmed. High angle shot of mother kissing the baby and smiling. This montage and juxtaposition of society are extremely interesting and are examples of the masterful editing that the movie contains.
ReplyDeleteAn example of a film that uses editing in a slightly more modern and polished but similar way is “Run Lola Run”. Like “Man With a Movie Camera”, “Run Lola Run” utilizes split screens and simultaneously happening action. For example, when Lola is running in her first attempt to reach Manni, the camera view is a split screen to show Lola’s progress and Manni’s impatience. An example of simultaneous action is when Manni is on the phone in the booth and Lola is at the bank trying to convince her father to give her the money. After watching “Man With a Movie Camera” it is easier to understand the complexity of the editing that goes on in constructing films.
The quote stated in LAM clearly recognizes the many techniques used by Vertov in the editing of "Man With a Movie Camera". This movie was an extremely important mile stone in movie editing because it changed most of the traditional editing styles at the time, which led mostly to what we have today. Vertov aimed to make it seem as if the camera played the role of people's eyes. The scene I am choosing to analyze isn't five minutes, but may have been one of the most creative scenes throughout the film. The scene where Vertov continuously flipped between what seemed to be a female's eye and varies things that he had filmed. This scene was edited at an extremely fast pace, juxtaposing the eye with things such as trains, people, crowds, etc... This editing caused the viewer to feel as if they were seeing what the person was seeing. The fast pace of this scene also made it seem almost unpredictable, in the sense that you didn't know what would flash on the screen next.
ReplyDeleteMy example is a movie directed by Gabriele Muccino, called "7 Pounds". This movie is basically seen through the eyes of the man character, Tim, showing the viewers life through his perspective. In several scene's, the movie would juxtapose Tim's actions to his memories of the accident that murdered his wife and child. These juxtapositions were often fast, showing his memory, bit by bit, until it was viewed completely, giving us insight to his thoughts. Also, when Tim committed suicide, the camera would flash between many things, juxtaposing his death with things such as the spanish women and her kids entering their new home, the man going to the hospital, etc...
Movies like these were made to be seen at a certain perspective, which makes them so great.
The quote found in our LAM textbook outlines the artistic genius of Vertov who used the camera to take footage, but completely shape it the way he wanted the viewer to perceive it. He doesn’t just use a simple match-cut or side by side shot to convey the idea of a juxtaposition, rather he utilizes every technique to emphasize the idea of a juxtaposition. As stated in the text Vertov “shows us how the cinematographer and editor can take reality and turn make it so unpredictable and extraordinary.” Especially in the film “ Man with a Movie Camera” where I was able to really see and understand why his work was revolutionary. I chose the scene beginning at 33:13 where Vertov juxtaposes the different crafts and jobs, using hand labor, from washing hair, to cutting hair, to working in a factory, to typing. Vertov begins the scene with about eight regular 3-5 second shots of all the jobs using an extreme close-up through out almost the entire scene. Then he slowly shortens the shots and speeds up the cuts, to the point where they are literally on top of each other in fade-outs and fade-ins. Vertov is able to actually advance the speed in which the human brain can receive and process information, then he completely disrupts the vertigo flow with one quick fade- out and cut. The next shot is a regular 3-5 second shot creating feeling of exhaustion for the viewer as if they were actually in the film, on fast forward. In this scene Vertov not only shows us how to create juxtaposition, but also how to fully engage the viewer not only emotionally, but also mentally and even physically. This scene in fact is completely controlled by the editing, considering there is no apparent angle or frame change through out.
ReplyDeleteAnother film that I believe utilizes the same kind of techniques in relation the quote would be Run Lola run Lola. For example the scene where Lola and
Manni are on the phone, one could argue that the phone conversation was not portrayed in the way most phone conversations are portrayed in movies. The quick cuts back and forth, the shots of the outside world, and the juxtapositions of other people on different phones all experiencing the same realization. This movie also engaged its audience in a much more complex way than a mere emotional connection. Run Lola Run Lola is another example of the constant reminder that it is not only the cinematographer recreating the visual, but also the editor.
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ReplyDeleteThroughout his most famous and revolutionary film “Man With a Movie Camera”, Vertov manages to provide an understandable and informative experience for audiences of all time periods. With experimental techniques and realistic examples, “Man With a Movie Camera” may perplex the audience, an effect desired by even the most modern directors. In a clip from the film beginning around 41 minutes, Vertov makes use of a split screen of two similar shots of a trolley, at different angles, implying the actions within the two shots are occurring in unison. The next shots juxtapose machinery and a literal man with a movie camera, gradually building into this juxtaposition with rapid cuts between the two subjects, so fast that discontinuity becomes nearly continuous. These shots also disorient the audience allowing the transition to a more “normal” shot almost relieving, because suddenly the shot arrives back to the scene of the trolley, now revealing how the film makers go about shooting the previous footage. However, long shots are not made a pattern of, as the camera man shifts in between two passing trolleys and the editing is exploited through brief shots of the man from various angles and cinematography is exemplified through an intense and perfectly crowded frame, drawing a powerful and energetic response from the audience. This in alternation with the split screen and shorter excerpts from prior scenes, a common feeling is reflected on the viewers, finally ending with an extreme closeup of what made the scene possible: the camera lens.
ReplyDeleteFast motion is the next effect Vertov makes use of, beginning with an extreme long shot of a bridge, the sky behind it. The effect would be impossible to interpret without a vision of beautiful, white clouds racing one another through the background. Fast motion is then continued through the next high angled shot of a crowd on a beach, moving unnaturally quick. Although, throughout this portion, the closer shots tend to return to reality, again providing a juxtaposition, this time between the potential of editing and camera effects and how humans view the world on a daily basis.
A film clearly influenced by the ingenious “Man With a Movie Camera”, is “Run, Lola, Run”. Editing is made the primary source of endearment and admiration of both films while the two share similar qualities and techniques. The split screen is probably the most notable connection between the two, as it is not commonly found in most films. “Run, Lola, Run” exploits the effect in a severely significant way, as main character Lola and boyfriend Manni are shown in addition to a clock, allowing a connection to be made by the audience that all the events on screen are occurring at the same time while also implying their linkage, in terms of cause-and-effect. Another example of overwhelming, but outstanding editing is the fast-pace opposition of Lola’s panicked face and the telephone flying through the air to it’s hook each time the story begins to repeat itself. Rapid shot changes as these set the pace for the remainder of each scene, hectic and full of energy. The audience rightfully responds with those very emotions, as they most likely did years before to “Man With a Movie Camera”.
In Vertov’s work of “Man With a Movie Camera” it is seen through the eyes of the camera man but in a way that educates viewers in the way that techniques were accomplished at that time such as the split screen, slow motion, fast motion, and cuts. Usually when films are being watched the cameraman is never usually seen, but in this film the camera man holding the camera is seen. As I watched the film I felt that it was like an experiment for Vertov and he just put it together so that people could better understand the process and gave him a chance to show the new effects that he was working with that weren’t popular during that time. One scene of the film that caught my eye as a good example of film editing was at 8:56. During this part of the film the scene starts with a shot of a train track facing vertically with a train in the distance running along the tracks. A cameraman is in the shot laying on his stomach getting a shot of the moving train as it is coming towards him. As the train is getting closer to the guy on the tracks, the camera switches to a shot of the side of the train. Then the camera shoots a shot of the mans foot on the tracks then switches to a shot of the camera under the train shooting from under the moving train. The a shot of the top of a womens head laying down is shown then the camera shoots back to the side of the moving train but as this shot is taken its seems as if the handheld camera is used. Then the camera juxtaposes back to the women getting out of bed. Then there is a shot as if the camera man is on the train with a high angle shot down on the tracks while the train was moving. The end of the scene shows a man coming out of a hole that he created to get the camera under the train to get the shot from under the moving train. Usually for films it is known shown to the viewers how the shots were taken, but in this film it is shown. I also chose this scene because this was one of the scenes that actually had story and emotion. This cuts between shots created suspense because in our minds we think that they man laying on the tracks is going to get hit by the train, but its actually just him using a camera to show through the eyes of someone who may be getting hit by a train.
ReplyDeleteI agree with Rayna in the way that Run Lola Run goes along with the quote in the way that the editing was used to juxtapose objects also the quick pace editing. Another thing that was used in both of these films was the use of the split screen. Also the way that Run Lola run felt like it was a documentary of an adventure gave me the same feeling that I felt as I was watching The Man with a Movie Camera.
In "Man with a Movie Camera", Vertov demonstrates the many techniques and styles a director and/or editor may use in the production of film. One particular scene shows a mounted camera in a car driving beside a stage-coach. This scene is interlaced with footage of a woman, presumably an editor or editor's assistant, hunched over a reel of film literally "cutting" it. Another noteworthy shot in this scene is the image of two shots, juxtaposed next to each other simultaneously, driving down a street. All of these examples support the quote, showing that the editor and cinematographer can manipulate a shot beyond it just looking at an event. The camera, and what is done with it, can be just as and sometimes more important than what is actually being shown.
ReplyDeleteRun Lola Run, a German film about a woman named Lola who has to run in order to save her boyfriend's life, makes use of a concept demonstrated in "Man with a Movie Camera". In the latter movie, whenever the cinematographer wants to heighten the audiences emotions and suspense, the background music becomes louder and, more importantly, the shot lengths become shorter; eventually leading up to a climax where you can no longer keep track of every time the shot changes. In the former movie, the same thing is done in several scenes. As Lola becomes frustrated with her boyfriend on the phone, her breathing becomes louder and shots occur more frequently until she finally screams at him, getting him to be quiet. By displaying events differently than how the viewer would normally see it in the world, our concept of what is occurring also changes.
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