by Do Xuan Zang
The concept of truth Cinema
Man with a Movie Camera with city theme tune is clearly reflected in the concept of documentary Dziga. The movement advocates Kino-Pravda, Dziga utmost to enhance the role of the camera, ie the camera to reproduce reality. He said that the camera has the ability to describe reality and reality perfectly. In his films, the image of the eye or camera lens back and forth many times, both as a medium, such as a transition relationship reminds the viewer of the presence of ‘realism’ that the filmmakers want to confirm.
To express “true life-is-it” and ability to “cleverly capture the moments that life did not know”, Dziga methods used discreet and secret recording, such as: camera placement under railroad tracks, put the camera on top of high buildings in the city or any window of a home … In fact, undeniable Dziga scored moments are very real, natural and beautiful in her films.
However, is beyond the control of the filmmaker, not always possible to find a ‘hiding place’ entirely secret camera-early-which is not compact and hence also sometimes cause embarrassment to the ‘character’ (sometimes picture viewer encounters a woman cover her face in front of the camera, or a hostess-enjoy-perhaps watched filmmakers carry cameras go …). There is no denying that it makes when filmmakers footage very real and lively, but even then people have doubts about the ability of the object approaches the camera.
Moreover, the notion of realism in documentary films from this period, even in the true line Cinema (Kino-Pravda) also need to reconsider. In Man with a Camera problem appeared ‘take back’, ‘back up’: the image next ‘real’ recorded by the camera, and the image that appears with the filmmaker in camera moments of his life are recorded in the city. We can say it is a form of ‘film in the film’: movie about a guy going around recording real life in a city with a camera, the film is also reconstructed from the private material he recorded, which showcases a vivid picture of the city and the people living there.
The construction technique and rhythm against the film’s point of truth Cinema
Learning from Soviet Montage school, Dziga used successfully and effectively montage techniques to create a rich picture of the city just colors, rich medium to convey ideas or philosophy of life and people from the scene discrete, not continuous. Here, Dziga ignore the continuity of action. Parallel technique and build up opposition proved very effective in showing the picture of a large city. The parallel construction of the scene: washing, cleaning shows a city scene woke in the morning, and the parallel development of similar action creates a link with a rhythmic sequences, from also transmit a rhythm to the viewer. The contrast between the building situation, the portraits: marriage-divorce, the birth of a human being-the death of another human being, the live scene opposite: relaxed, enjoying tuberculosis hard work .. and make the face appear rich, multi-dimensional life, as well as evoke emotions in the viewer, think the link in the scene opposite a certain idea.
The rhythm of the scenes montage from the transfer, transfer rate: go back and forth by the scene of the commuter train passing on the street, the camera panning scenes of its lenses everywhere, or one eye observation and curiosity. People see through it, just feel the rhythm of the editing flexibility (Some viewers will forget about this really is a picture from the fragmentary pieces), and feel the breath life through the movie, and at the same time-unintentional-might remind viewers not to forget about what they were watching was recorded by a camera and observed by the eyes of a child the specific-filmmaker here. Maybe this is what Vertov unforeseen when he expressed views on reality in documentary films through his film: the fact is that what Vertov was recorded ‘what-is’ , as well as the authenticity of the camcorder in recording reality, not entirely so. Because of the time to do it, is to convey insight Vertov and his feelings through painting up into a single scene from the transmission and a rhythm from the disjointed fragments of reality. Thus, from the nature of the construction, the documentary filmmakers have made a fictional action through the selection and manipulation of material available into a movie stamped their own names.
Once more ‘fictional’ to music
This period, the radio field should not be done making music has contributed greatly to the creation of the film rhythm. The montage was trying to convey sharp and ‘real’ breath of life most (in the sense of the filmmaker), and express ideas and convey feelings on the subject: rush- slow, noisy, silence-vibrant, true-lyrical, hurry, hurry-peaceful …; convey a feeling, a sense of endless flows of life in a rhythm regular, repeated, repetitive but not boring: it is the essence of life, is what is happening every day around the countless human situation, people, events, activities …
Once again, the music involved in the process of ‘fictional’ reality in a documentary by the emotional impact on the viewer. Chances are, once again, the viewer has to feel alive in space is thought his familiar daily, had a chance to look at it from outside the object.
Thus, in terms of genres, from the nature documentary film and short film landscape before, Man with a Movie Camera recorded the progress and effectiveness of the role and use of montage music. It also proved from the outset that the documentary is not a ‘reality as it is’. As fiction film exists as an unavoidable factor in terms of the documentary genre.
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