Dziga Vertov

As the 1900’s marched on so did editing and montage. The Great Train Robbery had established that it was possible to create a narrative by cutting film. The next decade would build on that and establish rules which apply to films today. One

Film and realism are connected to one another; it gives the audience an opportunity to interpret the film in their own perspective, in relation to the real world. As someone with a firm opposition to editing and montage, Bazin stated that the mise en scène truly represents “true continuity” in film, reproducing the real world more realistically. (Cardullo, 7) There are two editing systems: Classical Hollywood Cinema and Neorealist Cinema. From their similarities and differences, it can be said that Neorealist Cinema portrays the real world more realistically and effectively than CHC… In order to produce Bazin’s “true continuity” and reproduce situations more realistically, the filmmaker must choose an effective editing system, refrain from interrupting the flow of images, and use minimal editing, proven through the two films Bicycle Thieves (Neorealist Cinema) and Stagecoach (CHC).

Nominated for seven academy awards for his work in cinematography, and propelled by Wilder’s film noir style, we see the excellent use of lighting and camera work that is almost lost on modern cinema. The more sinister characters are silhouetted, obscured by clouds of their own cigarette smoke, or viewed from a slightly upward angle, as to make them appear looming and threatening. The protagonist of our film is always well lit, shot from a level surface, and is often wholly visible in every frame he inhabits. Less serious and goofy characters often take up very small portions of the screen, and are shot on a downward angle, as if to make us literally look down upon them. As important as the use of angles with characters are, the score to the film is a character all its own. Franz Waxman is the mastermind behind this very

Formal context is a big part of why movies are how they are. In Double Indemnity (1944) clip, by Billy Wilder, there are many formal context elements that are important as to why the choices are made during scenes. Some of these are the types of shots, camera movement, lighting, and the mise-en-scene. This paper analyzes the five shots in the two minute and thirty three second scene in depth.

The innovative theories and filmmaking techniques of Dziga Vertov revolutionized the way films are made today. Man With a Movie Camera (1929), a documentary that represented the peak of the Soviet avant-garde film movement in the twenties, displayed techniques in montage, creative camera angles, rich imagery, but most importantly

Eisenstein and Vertov are two filmmakers/theorists that made films to illustrate and emphasize their film theories. One of Eisenstein’s theories is that film should have a dialectic approach to create conflict. Furthermore, he states that conflict will spark active thinking in the spectator 's mind. Another theory from Eisenstein is the methods of montage. There are five methods, but the one he highlights the most is the intellectual montage, which helps create an idea through juxtaposition to make the audience think about the film and social issues. In comparison, one of Vertov theories states that film is like a medium of movement. Furthermore, he explains the movement is required to create montage and bring shots together in harmony. Another theory from Vertov emphasizes the camera eye. He explains how the camera can show the truths of the world better than the human eye. In summary Eisenstein demonstrates his theory of conflict and intellectual montage in October (1928) and The Battleship Potemkin (1925). Plus, both films get the audience to think about life and society. In comparison Vertov displays his theories of movement to create montage and the importance of the camera eye in The Man with the Movie Camera (1929) to illustrate cinema as a whole and show the power of the camera eye. To conclude, both Eisenstein and Vertov are able to effectively display their theories in film.

Throughout chapter one we are well informed about cinema from 1880 to the 1904. Cinema was invented in 1890; it offered a cheaper way of providing entertainment to a mass amount of people. Before cinema there were preconditions for motion pictures. There were five of these conditions: 1. Scientist had to realize how the human eye perceived motion images. 2. How were they going to project a rapid display of images? 3. How could they use photography to make clear images? 4. How could the photos be flexible? 5. Finding a suitable machine for cameras and projectors.

Man with a Movie Camera, directed by Dziga Vertov and edited by his wife Elizaveta Svilova, is an experimental film released in 1929 after having been filmed over a period of three years in urban U.S.S.R and is considered by some to be both a documentary and avant-garde cinema (Aitken, 2011, p. 602). The film was shot in the Soviet cities of Kiev, Moscow and Odessa (Nytimes.com, 2015). Unlike Hollywood and the growing trends of Russian silent Cinema at the time, Vertov chose not use actors, theatrical elements and melodrama to capture the urban sprawl of Soviet Russia; calling drama a "corrupting influence" on the proletarian sensibility (Kolchevska et al., 1986). Vertov’s cinematic focus was instead on the cityscapes, industrial structure

5. Gozdziak, E. M. (2008). On challenges, dilemmas, and opportunities in studying trafficked children. Anthropological Quarterly, 81 (4), 903- 923.

In a nutshell, Souviet Montage involves editing as a much more pronounced feature than in German Expressionism. It explores the ways in which each shot gained intensified meaning from its relationship to the shots deliberately placed before and after it. For Eisenstein it is in the tension (or conflict) between shots that meaning is created. Montage cinema demands that audiences continuously search for the

Hi Chour, I agree that in today’s movie they can film every scene in different location, unlike this film. Film makers also use high-tech technology equipment to edit the movie to make each scene more realistic. Although this movie was filmed during 1940’s the story line was clear and effective.

Sergei Eisenstein and Dziga Vertov are among the most identifiable names in early Soviet film. Their contributions to film, in the areas of montage and documentary film respectively, have helped to structure film, as we know it today. However, apart from their theoretical contributions to the field, both directors played an imperative role in Soviet film during the 1920s and 1930s. This paper examines historical revisionism within their film, how their theories of montage influenced the revisionism, and how they were persistent in the use montage throughout their careers as filmmakers to assert themselves as artists.

In this essay I will be discussing five key points throughout Post Production history between the 1900s-1960s. Post Production is seen as a vital component in the cinematic industry as it essentially finalises the final products. Techniques that have been developed over the years are incredibly important, but they all have an origin. Although these techniques started out without overwhelming effect, they are now unbelievably crucial to how films are constructed. The five points I wish to discuss go as follows: The Great Train Robbery and Edwin Porter himself, D.W. Griffith and his overwhelming influence on editing, The Jazz Singer, the Kuleshov Effect and finally, 2001: A Space Odyssey. As well as discussing these key factors, this essay will take into consideration secondary material.

The main functions of Montage are “to control rhythm, to create metaphors and to make rhetorical points” (Bordwell 1972: 9). Rhythm is the series of movement perceived from the consistent juxtaposition of shots. Continuity editing usually forms the rhythm of a narrative. Continuity editing as the name implies is “a system of cutting to maintain continuous and clear narrative action” (Bordwell and Thompson 2012: 500). Sergei Eisenstein (1949: 47) claims that, “the quality of interval determines the pressure of the tension and the phases of its tension is the rhythm”.

As the rise of cinema in the usa, came two of a great movies of their own time which captures the public interest but in different ways. It happened one night (1934), Citizens kane (1941), are both interesting and different in terms of social issues and also as filming and using technology at the time of the release.