Discuss how far your chosen element of film reflects aesthetic qualities associated with a particular film movement
(How does man with a movie camera reflect constructivism)
PLAN
Point - Relate to Q
Evidence- Micro Feature, eg: editing split screen
Analysis - WHY has the micro feature been used
Meaning - spectator response
Link - Constructivism / question theme
To a full extent, man with a movie camera reflects the aesthetic qualities associated with constructivism and modernism. At 23 minutes, there is an establishing shot/Extreme long shot to set the scene and split screen is used in the editing so that the camera, static, looking over the city covers half of the shot. The deep depth of field allows the audience to have a broad clear view of the area of the city and therefore gain a larger perspective of it, combined with wide lens, high angle shot; the audience are then put in a position of knowledge, which the camera is given credit for due to the split screen. The split screen additionally provides Brechtian distanciation as it removes the audience from engaging with the narrative and instead correlates with the idea that the camera is a powerful invention that can provide us with knowledge the additional fetishisation of the camera thus insinuates a celebration of the new technology and machinery of a camera.
Man with a Movie Camera additionally reflects the constructivist and modernist movement with cyclical motifs. Within the section of the film where a carousel image is used, Vertov uses a match dissolve effect, showing the revolutionary potential of modern film-making by brandishing new technology. The utilization of brand new camera technology is a celebration of the transition towards modern film making, which strongly reflects the aesthetic qualities of constructivism. Additionally, the match dissolve effect absorbs the exterior of the carousel, this effect allowing the audience to see how times move forward and shows entertainment and circularity, as a metaphor for the cycle of life. The carousel represents the cycle of life, and accordingly reflects the aesthetic qualities of the modernist movement being a celebration of modern art; something new and fresh that provides an alternate way of looking at things, in this case the cycle of life.
Again Man With a Movie Camera reflects the aesthetic qualities of the constructivist and modernist movement showing the potential of modern filming as a way of celebration new technology. In the 'Sport' sequence of the film women are shown participating in sporting activities with a male audience. Use of slow motion, as in this sequence, was seen as a groundbreaking tool, the connotations show the robust nature of women, showing them oppositionally to their week stereotype. There is additionally an element of Scopophilia but in a way that Highlights the athleticism and muscularity of the women. Drawing attention to this theme through the use of slow motion reflects the aesthetic of the modernist movement in that it shows a fresh perspective of gender roles, reversing stereotypes of women. The gaze of the spectator is mediated through the gaze of the diegetic audience. This shows the forward thinking society.This may inspire the spectator and help an audience to gain a more broad perspective of the roles and capabilities one associates with a particular gender. Thus Man With a Movie Camera utilises the theme of reversal of gender stereotypes through emphasizing the power of the camera , people can watch sport on camera, slow motion with the camera can give us a deeper perspective than the eye can see; celebrating the camera, and this accordingly reflects constructivism.
Man with a Movie Camera reflects the aesthetic qualities associated with the Constructivist movement. Within the mise en scene in the film, we see a diegetic audience in the cinema, watching a camera onscreen, moving of its own accord, and the audience's fascinated reaction to it. The diegetic audience is used to mediate the spectator's response to it. This could be seen as an example of constructivism as it depicts the movement's strong commitment to machinery. Not only does the Constructivist movement celebrate the machine but also explores the mechanics of the human body and human communication through the humanlike personification of the film camera, moving of its own accord through the use of stop motion. The film's constructivist aesthetic adds to the meaning that art is no longer just a painting: cinema is art. In the same way that modernism includes the machinery of cinema to outline the future, Man With a Movie Camera signifies the fetishisation of the camera and the strong significance it will have on the next generation.
Similarly, in Man With a Movie Camera, multiple cuts are used per second during the end sequence to make up the extreme fast pace of the editing, making use of the Kuleshov effect. This could represent the small fragments that were used in the constructivist movement as part of the technical organisation of materials, which would additionally reflect the soviet montage movement. Moreover, the sequence of fast paced editing would require lots of work to put together, which could also be said to represent constructivism's celebration of work and labour. In terms of how meaning is generated, the many shots act as a kind of summary of the film, in which Vertov celebrates the industrial age and the Soviet Union. This is exemplified in the repeated shots of trains. The editing of the sequence, which starts at a fast pace, continues to increase until the use of overlapping motion occurs. The pace of the editing is so fast at this point - cuts from the line of bottles and spoons being used as instruments, to faces, and finally to the cinema itself - that the transition to overlapping motion is seamless. This was a revolutionary technique of the time; the use of it was influential. It reflects modernism in that it is an example of experimentation. Modernism gave people the free reign to be experimental. Vertov is eschewing classical forms of art by demonstrating his inspiration from the constructivist movement.
PLAN
Point - Relate to Q
Evidence- Micro Feature, eg: editing split screen
Analysis - WHY has the micro feature been used
Meaning - spectator response
Link - Constructivism / question theme
To a full extent, man with a movie camera reflects the aesthetic qualities associated with constructivism and modernism. At 23 minutes, there is an establishing shot/Extreme long shot to set the scene and split screen is used in the editing so that the camera, static, looking over the city covers half of the shot. The deep depth of field allows the audience to have a broad clear view of the area of the city and therefore gain a larger perspective of it, combined with wide lens, high angle shot; the audience are then put in a position of knowledge, which the camera is given credit for due to the split screen. The split screen additionally provides Brechtian distanciation as it removes the audience from engaging with the narrative and instead correlates with the idea that the camera is a powerful invention that can provide us with knowledge the additional fetishisation of the camera thus insinuates a celebration of the new technology and machinery of a camera.
Man with a Movie Camera additionally reflects the constructivist and modernist movement with cyclical motifs. Within the section of the film where a carousel image is used, Vertov uses a match dissolve effect, showing the revolutionary potential of modern film-making by brandishing new technology. The utilization of brand new camera technology is a celebration of the transition towards modern film making, which strongly reflects the aesthetic qualities of constructivism. Additionally, the match dissolve effect absorbs the exterior of the carousel, this effect allowing the audience to see how times move forward and shows entertainment and circularity, as a metaphor for the cycle of life. The carousel represents the cycle of life, and accordingly reflects the aesthetic qualities of the modernist movement being a celebration of modern art; something new and fresh that provides an alternate way of looking at things, in this case the cycle of life.
Again Man With a Movie Camera reflects the aesthetic qualities of the constructivist and modernist movement showing the potential of modern filming as a way of celebration new technology. In the 'Sport' sequence of the film women are shown participating in sporting activities with a male audience. Use of slow motion, as in this sequence, was seen as a groundbreaking tool, the connotations show the robust nature of women, showing them oppositionally to their week stereotype. There is additionally an element of Scopophilia but in a way that Highlights the athleticism and muscularity of the women. Drawing attention to this theme through the use of slow motion reflects the aesthetic of the modernist movement in that it shows a fresh perspective of gender roles, reversing stereotypes of women. The gaze of the spectator is mediated through the gaze of the diegetic audience. This shows the forward thinking society.This may inspire the spectator and help an audience to gain a more broad perspective of the roles and capabilities one associates with a particular gender. Thus Man With a Movie Camera utilises the theme of reversal of gender stereotypes through emphasizing the power of the camera , people can watch sport on camera, slow motion with the camera can give us a deeper perspective than the eye can see; celebrating the camera, and this accordingly reflects constructivism.
Similarly, in Man With a Movie Camera, multiple cuts are used per second during the end sequence to make up the extreme fast pace of the editing, making use of the Kuleshov effect. This could represent the small fragments that were used in the constructivist movement as part of the technical organisation of materials, which would additionally reflect the soviet montage movement. Moreover, the sequence of fast paced editing would require lots of work to put together, which could also be said to represent constructivism's celebration of work and labour. In terms of how meaning is generated, the many shots act as a kind of summary of the film, in which Vertov celebrates the industrial age and the Soviet Union. This is exemplified in the repeated shots of trains. The editing of the sequence, which starts at a fast pace, continues to increase until the use of overlapping motion occurs. The pace of the editing is so fast at this point - cuts from the line of bottles and spoons being used as instruments, to faces, and finally to the cinema itself - that the transition to overlapping motion is seamless. This was a revolutionary technique of the time; the use of it was influential. It reflects modernism in that it is an example of experimentation. Modernism gave people the free reign to be experimental. Vertov is eschewing classical forms of art by demonstrating his inspiration from the constructivist movement.
Paragraph 1:
ReplyDelete"Split screen is used in the cinematography" _ would associate split screen with editing rather than cinematography
"The large depth of field" - depths of field are shallow or deep, not large.
"The split screen additionally provides Brechtian distanciation" - I see what you're getting at in this sentence, but I don't think you've really pinpointed the effect of Brechtian distanciation.
Paragraph 3:
"Again Man With a Movie Camera" - not too keen on the link here ("Again..") - try to establish better links between paragraphs
"in sporting activities with a male audience" - use the term "male diegetic audience" here
Paragraph 4:
"Within the mise en scene in the film, we see a diegetic audience in the cinema, watching a camera onscreen" - you need to ground this in the film's narrative - where, exactly, does this scene occur?
"Not only does the Constructivist movement celebrate the machine but also explores the mechanics of the human body and human communication through the humanlike personification of the film camera" - as with the previous paragraph, the link between paragraphs is a little weak - the section I've cited here would make a far better link; you discuss the slow motion mechanics of the human body in the previous paragraph, so here you can discuss the stop motion mechanics of the camera.
Overall, the analysis is strong, and you've incorporated specialist film terminology well throughout. I think, though, that there are some structural problems, because I'm not always sure how you're linking one paragraph to the next - this is reflected in the paragraph-by-paragraph commentary above.
Mr Boon