Analysis Of Cinematographic Structure Film Studies Essay

I am be aftering to do an experimental short movie which will be my first experience in movie industry. It is besides the portion of the survey to develop a undertaking as Negotiated Film Production. Harmonizing to my vision in movie devising, get downing with the Research Method Reflective Report keeps my self-discipline balanced and widen my field of vision/ peculiarly in filming. By the aid of the research in filming and experimental movie genre, I am be aftering to reenforce all the required information both practical and proficient. I am traveling to analysis the film “ The Man with The Movie Camera ” which is significantly fulfilling mention in footings of filming and experimental movie. I will be looking into the movie by inquiring myself inquiries. I believe in that looking for replies of the inquiries which will steer me before doing my movie, with clearer diction ; “ doing a good filming ” . The inquiries that I will be inquiring are approximately detailed below. In add-on, the research bomber points will quite perchance take me to happen out any other related inquiries which have to be answered to assist pull a clearer decision:

What is a “ successful ” film?

What is the film speaking about?

What is the experimental movie genre?

Why is the film chosen to analyse?

How the film can be helpful to develop my cinematographic accomplishments?

What is the cinematographs ‘ part to the movie?

How it is referred to in movie theory text books?

How even current film makers refer to the movie?

Research Type and Methodology

Literature Review ( books, articles, reappraisals, movie ) and Qualitative Method ( desk research, reading books, testing the movie ) will be following during the research. Primary and secondary beginnings are traveling to be the tools of the making a research method study. Harmonizing to the my inquiries and methodological analysis, reading and correlativity brooding study will be used while organizing the context.

Supporting Key Points of the Research and Expected Accomplishments

* Clearer cognition of specifying “ experimental ” and filming.

* Understanding of the key points which bring a success in filmmaking.

* Having a opportunity of interrupting down filming into the framing, ocular design and composing with the case movie.

* Expected development of reading and execution of filming.

Time to detect a new manner that is specifically cinematic! – Vertov

KARIYER

FILM CEKME NEDENI

TARIHSEL SORUNLARLA FILMIN ILISKISI

BASARI NEDENLERI

VE FILM YAPISI

COMPOZISYON /GORSEL DIZAYNI

Reappraisal

Screening SONUCLARI

DEGERLENDIRME ( SWOT ANALIZI VE BIR SONRAKI PROJEDE DOLDURULMASI GEREKEN BOSLUKLAR )

WHY IT IS A Good MOVIE?

Graham Roberts page. 91

Vertov in modernism and Soviet civilization

Awards

Formal construction

First 20 min waking up of the metropolis! Film starts! A lady in bed, gets up, frock up, rinsing her face.. Cleaning of the streets.. Homeless people wake up, traffic, direction of trains and mill starts working!

Analysis of Cinematographic Structure / Composition / Visual Design

Vertov is known by his invents and developments in cinematic techniques ; Double exposure, fast gesture, slow gesture, freezing frames, leap cuts, split screens, Dutch angles, utmost close- up, tracking shootings, footage played backwards, A halt gesture animationsA and a self-reflexive manner ( at one point it features a split screen tracking shooting ; the sides have opposite Dutch angles ) . The techniques above surely were non wholly invented by Vertov, he was the first film maker that was able to do them go on and set all those techniques into the merchandise really imposingly. It was given at the gap sequenceA : “ ATTENTION VIEWERS / This movie is an experiment in cinematic communicating of existent events, without the aid of intertitles, without the aid of narrative, without the aid of theater. This experimental work purposes at making a truly international linguistic communication of film based on its absolute separation from the linguistic communication of theater and literature. This information shows that the film was done without the assistance of any narrative techniques and any other art genre. Although, It is well a piece of expressive graphics. I would wish to look for some of the those techniques used in the movie the scene to represent the techniques and its relation with the predominating context.

*Multiple exposure:

Multiple exposure is precisely what the name suggests, exposing movie more than one time to organize multiple images in a frame. This will make overlying images that can make apparitional effects or add objects that were non originally at that place. As it happens in the film “ The Man With The Movie Camera ” multiple exposure consequence was created in camera by exposing the movie ‘s negative to light to enter an image, so weaving it back and exposing it once more, this clip to an another image.

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“ Musical Performance with Spoon and Bottles ” sequence

*Split screens:

Split screen comprises shooting images for two halves of frame individually and so uniting them. Early split screens were created to demo the audience two wholly different shootings side by side and chiefly used to do it look as though two images were filmed together, with the split line unobtrusive. But as the Vertov with his ain different position of use the particular consequence, he preferred to utilize the technic consciously noticeable. Very impressive manner of associating the significance of the shotaˆ¦

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Bolshoi Theatre implodes ( in a split screen consequence ) to a 90 grade angle

The mode in which the Bolshoi Theatre “ falls apart ” on the screen reveals the thought of “ opening a new route ” – the narrow black tract that leads to deep perspective- beneath the two parts of the cut off edifice. This split screen image of the Bolshoi Theatre makes stronger the ideological significance implied by the particular consequence.

*Dissolve:

A transitional redaction technique between two sequences, shootings or scenes, in which the seeable image of the scene is bit by bit replaced or superimposed ( by an overlappingA slice outA or melt inA andA dissolve ) with the image from another shooting or scene ; frequently used to propose the transition of clip and to transform one scene to the following.

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The movie / oculus is the best illustration of photographic presentation of Vertov. The relationship of two round signifiers, the camera lens and oculus. The technique was used at the terminal of the movie and in a 1923 pronunciamento, Vertov wrote “ I am Kino-eye, I am mechanical oculus, I, a machine, show you the universe as merely I can see it ” . This is the 1 that clearly defines the dissolves technic used in the film which is the best transforming of the word to the image.

*Dutch Angle

The Dutch Angle is known as Dutch joust, German angle, oblique angle or canted angle. The oblique shooting takes the consecutive lines of the universe and presents them as diagonals.. This can be used for dramatic consequence and helps portray malaise, freak out, frenetic or despairing action, poisoning, lunacy, etc.

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Dziga Vertov ‘s movie is known one of the first uses of the Dutch angle, among other advanced techniques discovered by Vertov. The shooting is used in the movie to give an overpowering sense of the universe ‘s being imbalanced or out of kelter and symbolized with the position of the smokestack.

*Freeze Frames:

It refers to the technique ofA printingA a sequence of the sameA frame of filmA to give the movie viewer the feeling that clip has stopped momently. Freeze frame invented by Marcel Duchamp who shocked the art universe with his painting “ Nude Descending a Staircase. ” It was n’t shocked by nakedness — the graphics was excessively abstract to demo any. They were shocked that he depicted the descent in a series of stairss taking topographic point all at the same clip.

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What Vertov did was promote this daring freedom to a degree embracing his full movie. The self -referential gesture provokes the spectator ‘s consciousness of the cinematic procedure, as the resulting shots bend into freeze-frames of Equus caballuss, ladies in passenger cars, traffic, the crowd on the street, and kids, pulling a phenomenological differentiation between gesture images and still picture taking.

*Jump Cut:

Discontinuously, two resulting shootings are taken from a somewhat similar camera angle is defined as a leap cut. Jump cuts are known a misdemeanor of classicalA continuity redaction, which aims to give the visual aspect of uninterrupted clip. Jump cuts, in contrast, draw attending to the constructed nature of the movie.

It would be unneeded to represent the definition of leap cut with the footage from the film as the critic Neil Young wrote: Vertov ‘s eye-popping image seems, today, arguably the freshman of the two. ” Godard is said to hold introduced the “ leap cut, ” but the Vertov ‘s movie is wholly jump cuts. Machinery, crowds, boats, edifices, production line workers, streets, beaches, crowds, 100s of single faces, planes, trains, cars, and so on. But these shootings have an forming form of leap cuts.

*Extreme Close- Up

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A framing in which the graduated table of the object shown is really big ; most normally, a little object or a portion of the organic structure normally changeable with aA zoomA lens. Again, faces are the most perennial images in utmost closeups, as these images from “ The Man With The Movie Camera ” . This type of shooting creates an intense temper and provides interaction between the audience and the spectator.

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In “ Vagrants in the street sequence “ Cameraman ‘s and the camera ‘s points of position have shown first clip together. During the sequence, the Cameraman is non exposed, although the shooting of drifter and the cranking camera is repeated a twosome of times, as the camera ‘s point of position is enhanced by the extreme close up of the lens in which the camera and Cameraman ‘s manus are reflected. Symbolically stand foring the camera ‘s point of position, this shooting is extremely self-referential: it informs the spectator about the act of shot, and at the same time reveals both the technological agencies of film and the object that has been captured by the camera lens.

*Stop Motion Animation

Stop-motion life is the painstaking procedure of snaping a theoretical account, traveling it a miniscule sum, so snaping it once more. Finally, you threading the exposure together and the bantam motions appear to be action.

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Remarkable sequences include a camera puting itself up and so walking off on its tripod ; a frozen scene becomes a series of stills. The stills are frames of a 35mm movie being cut by the editor. Interlace and collages of the camera lens and the human oculus stress the camera ‘s function as an active perceiver and newsman of human activities.

*Tracking Shootings

Trailing is frequently more narrowly defined as motion analogue to the action, or at least at a changeless distance.

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The sequence from the movie includes legion tracking shootings. Vertov ‘s imaginative movie histories both mundane actions and the act of shooting them, so the tracking shootings alternate between those taken by the camera we see and those taken by a 2nd camera. The Cameraman shoots from a bike rushing toward the audience. Structurally, the tracking shootings creates a cinematic abstraction of “ Life As-It-Is ” that is more meaningful and impressive than the representational content of each person shooting.

Ocular Composition and Design in “ The Man with The Movie Camera ”

The movie is grounded on three different shooting composing which gives to the movie an impressive expression by the aid of wisely interconnectedness.

*Black and white contrast of the images

*Dominated in writing form of the frames

*Abstract mentality of the shootings

Technical Specifications

Film length ( metres ) : 1889 m ( 6 reels )

Film negative format ( mm/video inches ) : 35 millimeter

Cinematographic procedure: Spherical

Printed movie format: 35 millimeter

Aspect ratio: 1.33: 1

Runtime: 68 min

Sound Mix: Silent

Color: Black and White

Crew

Directed by Dziga Vertov

Cameraman Mikhail Kaufman

Assistant Editor Yelizaveta Svilova

Original Music Pierre Henry / Nigel Humberstone / Konstantin Listov / Michael Nyman

Cinematography Mikhail Kaufman /Gleb Troyanski

Film Editing by Dziga Vertov

Pro. Company VUFKU

Filming locations Kiev, Ukraine / Moscow, Russia ( outsides ) / Odessa, Ukraine ( outsides )

Country Soviet Union

Release Date 12 May 1929 ( USA )