introduction:
Man With A Movie Camera, first shown in 1929 and directed by socialist; Vertov, can be related to multiple artistic movements including constructivism and modernism. constructivism was an art movement which emphasises the importance of the construction over the final product. the focus on the filming process during the film coveys this constructivist element. constructivism also celebrates industrialisation, and this is reflected through the films idealisation of modernity and the new soviet society. additionally, modernism is a movement which aims to portray a fascination with modern life, and at the same time presents art in a diverse way, rejecting classical art aimed at both portraying and interesting the bourgeoisie. 'Man With a Movie Camera' embodies these features through its focus on the films production, and its inclusion of people from all sects of life, more specifically average workers who coalesce in the interest of communism.
Vertov utilises the double exposure technique to showcase this new nature of filmmaking, thus linking back to the notion of constructivism. The spectator is presented with a long shot where a man is constructing a movie camera on top of a building over a city. This appears to be an art piece within an art piece; whereby the two pieces of film are laid on top of each other to create one shot. The man is of similar size to the building, thus amplifying the notion that he is "above": an omniscient, omnipotent presence watching over the populace of the city. This may link to the development of camera technology which, in Vertov's eyes, would become a societal phenomenon impacting all walks of life. The unprecedented use of the double exposure exemplifies the contemporary freedom artist had in order to express themselves, which in the near future would be restricted by governmental scrutinisation over all aspects of society.
Vertov's peculiar yet enthralling depiction of the camera appearing to "come to life" through the use of stop-motion, reiterates the notion of how this film celebrates the potential of what a contemporary film could do and laid the foundations for this new constructivist approach to film-making. The implications of the "human camera" not only celebrates the machine but can be viewed as a source of patriotism for the diegetic audience within the scene and the contemporary, Russian spectator at the time, as it shows the sheer robust power of Soviet Russian technology. Furthermore, we are also introduced to some facial close-ups of the diegetic audience appearing to react to the animated object on the screen and they all seem dazzled and mesmerised. Therefore, this establishes the context that despite the atmosphere of pessimism amongst people still suffering the aftershocks of war at the time, this scene would've had a mutual response from the spectator which was a sense of enlightenment and joy. This escape from reality had such a positive,domineering effect on people and re-amplifies the power cinema had and still has today to be used as a scapegoat to take people away from their own lives and indulge them into something unimaginable and unprecedented.
To conclude, the constructivist movement associated with this film is integral to our understanding of the cultural contexts of soviet Russia. construcivism came to existence due to the vast and rapid growth of industrialisation, and the new ideas of modernism, celebrating the modern world of technology and economic progression.
1. 'Man with a Movie Camera' rather than 'A Man with a Movie Camera'.
ReplyDelete2. Always cite the date and director's name in the introduction.
3. Try to contextualise constructivism in more detail - when did it develop, and why? Who were its main proponents? How does film as an art form fit into the movement?
Mr Boon
Also remember to comment that modernism sought to reject classical art form of the past, and Soviet artists, in particular, were anti-bourgeoisie.
ReplyDeleteParagraph 1:
ReplyDeleteThe written communication is rather hit-and-miss here. No capitals at the starts of sentences and inconsistencies with the writing of the film title.
Paragraph 2:
"The spectator is presented with a long shot where a man is constructing a movie camera on top of a building over a city." I need a little bit of narrative context here - when and where does this sequence happen in the film? Who is the "man"?
"The man is of similar size to the building." - you're missing camera-specific terminology here. What size are they? Remember to use shot sizes, camera angles and camera movements when analysing film. What size is the man in relation to the people below him? Why has this been done?
Paragraph 3:
"Vertov's peculiar yet enthralling depiction of the camera appearing to "come to life" through the use of stop-motion" - Again, when and where does this happen in the film? Give some narrative context. I assume this takes place in the cinema at the end of the film, and represents part of the film's climactic message, but you need to state this explicitly.
"Furthermore, we are also introduced to some facial close-ups of the diegetic audience" - how are we introduced to these close-ups? Refer to editing techniques (we cross-cut between the camera, in medium shot, and the diegetic audience's reactions via a series of close-ups) - always ensure you're using the terminology - prove that you're a film student!
"to be used as a scapegoat to take people away from their own lives and indulge them into something unimaginable and unprecedented" - feels overwritten. "Scapegoat" sounds too negative, and "unimaginable" a little odd. Try to tighten up phrasing.
Overall, this feels rather brief, as there are only two analytical paragraphs. The essay doesn't flow particularly well either: it seems like you've taken two isolated, unconnected sequences and written about them without considering how and where they fit into the broader context of the film's narrative.
Mr Boon