![]() ![]() Dziga Vertov‟s Man with the Movie Camera (USSR, 1929), a film that epitomises thecharacteristics of this genre, acts as a concrete and particular example of an attempt toconstruct a cinematic image of the ideal socialist city of the future, through the depiction of contented citizens in the act of 'building Socialism in one country'. Such formalistic experimentationwith the iconography of urban landscapes is generically referred to as City Symphonies. You can’t evolve reality but formalist ideas are always changing and innovating.In the 1920s fascination with the city resulted in an unprecedented increase in movingimage works that encapsulated the dynamics of modernity. Why might formalist techniques and ideas keep evolving in the future in a way that realist ones might not?: ![]() Once they had film left they put everything that they had studied into practice and began to experiment and innovate. ![]() They studied film when the country ran out of film stock, they spent time picking apart other films as there was an embargo on the import of film stock. How and why did the soviets become expert and pioneers in film editing?: He believes that we should see the camera as our eye and we can look where we want to within the film. He believes that realist films are more true to life and authentic. What was Bazin’s two main problems with expressive / formalist cinema?: Montage made by Kuleshov and students at the VGIK state school of cinematography. This was known as Narkompros, the one state controlled film studio.įilm maker is seen as the engineer, he is another worker.įilm contributing to the revolution and the state as propaganda.įilm is seen as a tool for social and political influence. Man with a movie camera – creates a sense of confusion with the eye and fast moving cameraĬitizen Kane, you see as the real eye would see, there is no focusing on certain subject, you cut your own version of the film.Ĭontent on the screen used to convey a message on the screen.Ĭharlie Chaplin used size, positoning to make meaningĮverything on screen adds to the story and active viewers can take a lot more from the filmĬommunist concepts manifest in soviet montage:Ĭentralised production through state controlled industry. Soviet montage – order, duration, repition and rythm all help to make meaning. Kuleshov effect can help explain how editing makes meaning through the action / reaction shots. The mid point between realism and formalism Use of sound and editing over mise-en-scene to create meaning Non diegetic music, sets, editing and camera angles. Wide shots, long takes, eye level camera, no or limited cuts, real life places, diegetic music, as if you’re watching real life, real lighting This was called Italian Neorealism and the film he focused on was ‘Rome Open City’ by Rossalini in 1945. He believed that realism was the only way to make true cinema he wanted no fancy camera work, shots on location with real people. Pvdnovkin – Continuity principle, turns kuleshov effect into action / reaction shots.Īndre Bazin – Film critic who wrote a essay titled ‘what is cinema’. Battleship Potemkin – Odessa steps sequenceĭziga Vertov – believes fiction films are worthless and only like non-fiction films Kuleshov – viewers draw more meaning from two images together then both seperatlyĮisenstein – innovative montage, he says we do not need continuity. Soviet Montage – the cuts should be visible.Ĭlassicism – The middle ground between realist and formalist ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |