Introduction

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.

conclusion:

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.

a propos de nice

A Propos de Nice (Vigo) (expressionist documentary) France 1930

realism- as unmediated as possible, simple visual aesthetic, truthful, spectator reflection.
expressionism- highly mediated, highly constructed visual aesthetic, manipulation of truth, reaction from spectator.

this film focuses on class inequalities within nice. Vigo- "a way of life is put on trial"
influenced by Soviet modernism and constructivism.

modernism:
celebrates new exciting world. strong commitment to the machine as a progressive force. celebrates a new way of life. challenges and progresses what's been done before.

constructivism:
use of montage as an editing technique (cinematic version of a collage- non-chronological) creating different thoughts. celebrates the machine/ industrialisation by using montage.

city symphonies:
emerged in the 1920s. a poetic, experimental documentary that presents a portrait of daily life within a city, aiming to capture the city's spirit.

context:
soviet revolution (1929)- socialist unrest across Europe. ideas about working-class changing, power to question wealthy growing rapidly. Spain (Vigo's parents) under military dictatorship. Vigo's father (Anarchist journalist) was killed by the government.
the rich in France lived opulent lives, contrasting from the poor.
Vigo associated with a revolutionary left wing group (LEF group)
Vigo associated with left wing film makers, who were harsh critics of capitalism, also part of LEF group.
wanted to show the boredom of the upper-class lives and the struggle of the poor- contrast between classes.

constructivism, modernism and silent film

constructivism 
believed art should directly reflect modern industrial world. focuses more on the importance of creating art rather than the finished product. 'purely technical mastermind organisation of materials.'
an artistic revolution had emerged in Russia and Europe by 1917. traditional art forms were being attacked. artists often used product as a social product, reflecting the struggle of the proletariat. art no longer about the bourgeois society.

silent film:
film-makers and critics despaired with the introduction of sound in the late 1920s, and the unique aspect of film was being lost. film was no longer an innovative art form of visual expression.

modernism:
celebration of modern, new life. a diverse way of constructing at giving meaning to art. Brechtian distanciation is a technique of modernist art, where the audience is made aware that the film is a construct.

man with a movie camera- first viewing

man with a movie camera(1929):

during the soviet union period in Russia
focus on modern aspects of city e.g. buildings, planes, industrialised society.
melancholy mundane images of park/ homeless people- followed by focus on industry and world of work. during this change of focus, the music becomes increasingly up beat
images of dolls followed by long shots of buildings/scenery- both have associations with Russia during 1920s.
train noise coincides with build up of tension from music.
approval of the industrialised society is reflected through upbeat music.
mixing of shots- shows progression of film
men shown at physical work while women shown as domesticated workers e.g. sewing- both men and women at work in newly industrialised post WW1 society.
fast paced music reflects fast paced production due to increased consumerism.
working class jobs shown along side more middle class jobs e.g. mining compared to newspaper printing.
anti- fascist propaganda/images
development of print culture
fetishisation of the apparatus of film

example question:
 a) discuss how far your chosen films reflect aesthetic qualities associated with a particular film movement.
b) discuss how far your chosen films reflect cultural contexts associated with a particular film movement.

what to include: key elements of film form, representations and aesthetics, context, realist/expressive critical debate.

story board

film story board:

Creating this story board helped me to visualise the film before production, and therefore i could see if certain shots or angles were possible, and which ones most effective. 

film script

Script: 

Writing the script meant that during production there was direction, and made the process quicker. it also allowed me to give the characters personality and certain traits which help develop the story.  During the process of writing the script, i decided on a different ending, which complemented the film more appropriately.  

The script begins with Julia walking to a blind date...

short film inspiration

Short Films:

Ideas form the short films that we watched that i appreciated and have used in order to inspire many of the aspects in my own short film:

Stutterer:
the internal thoughts of the protagonist allow the audience to view both the internal and external performance of the character. we see how a person can appear differently externally in front of others to how they really are internally. we connect with the protagonist primarily through listening to his internal thought process. without this we would, as the audience, be disconnected form the character, and would consequently mean that the final scene would become less effective. i took the idea of internal thought against external action and based my short film on this. the audience will also connect to the main character through her internal thought process, rather than her external set of actions.

Wasp:
the staggered and unfixed camera work is congruous with the lives of the characters on show. their lives are disjointed and arguably broken. we see this even from the beginning of the film, where a fight begins, and then through the rest of the story. the camera is evidently handheld and therefore reflects the characters impulsive and reckless actions, like the fight we see at the beginning. this technique of using the camera to reflect a certain situation or feeling is portrayed in my own short film.