Man With a Movie Camera

Watch the film...

http://www.archive.org/details/ChelovekskinoapparatomManWithAMovieCamera

Your Looking at Movies textbook has a nice quote about Vertov and his film on page 428.

Vertov shows us how to frame reality and movement: through the human eye and the camera eye, or through windows and shutters. But to confound us, he also shows us--through such devices as the freeze-frame, split screen, stop-action, slow motion, and fast motion--how the cinematographer and editor can transform the movements of life into something that is unpredictable. He not only proves that the camera has a life of its own, but also reminds us of the editor, who is putting all of this footage together. Reality may be in the control of the artist, his camera, and its tricks, but it also finds definition within the editor's presentation and, ultimately, the viewer's perception.

In your first well-developed paragraph, please discuss this quote in relation to a five minute piece of Man With a Movie Camera. Be sure to describe shots cinematically, as if I've never seen the film before. Discuss elements of editing, such as the juxtaposition of shots, rhythm, montage, etc.

In your second well-developed paragraph, discuss this quote in relation to a film of your choice. Try to be as specific as possible in your descriptions and speak cinematically when you discuss the film. 

Battleship Potemkin

"The film has a collective hero; the Russian masses—the mutineers on the Potemkin, the people of Odessa, the sailors who mutiny on the other ships—who rebel against Tsarist oppression.

Despite the film's documentary look, it was very carefully constructed on every level, from the distribution of line, mass, and light in individual shots to the perfectly balanced five-act structure of the overall film. The most remarkable feature of the film's construction, however, is the montage editing.

Eisenstein's theory of montage—based on the Marxist dialectic, which involves the collision of thesis and antithesis to produce a synthesis incorporating features of both—deals with the juxtaposition of shots, and attractions (e.g. lighting, camera angle, or subject movement) within shots, to create meaning. Rather than the smooth linkage of shots favored by many of his contemporaries (e.g. V. I. Pudovkin and D. W. Griffith). Eisenstein was interested in the collision and dialectical synthesis of contradictory shots as a way to shock and agitate the audience."

Think about the above quote (from the essay by Clyde Kelly Dunagan in the handout I gave you). In 2 paragraphs, discuss (CINEMATICALLY) if and how Eisenstein's theory works. Be sure to use the cinematic vocabulary you have learned. If you need to, use your glossary in Looking at Movies.

In paragraph 3, discuss a film you have seen that uses discontinuity editing or at the very least seems influenced by Eisenstein's method. Discuss the film CINEMATICALLY as you would discuss a film we watch in class.

Here is a link to the film: https://www.youtube.com/watch?v=7TgWoSHUn8c

Metropolis

Strike! full movie https://www.youtube.com/watch?v=uLiNKaUp0AA

Metropolis full movie https://www.youtube.com/watch?v=AvtWDIZtrAE

The Cabinet of Dr. Caligari and Nosferatu

We watched The Cabinet of Dr. Caligari in class. Watch Nosferatu on your own...you might want to watch it with the lights on.

German Expressionism was developed at a precarious time period in history. These two films present underlying issues that were taking place in Germany at the time. What are these issues and how are they presented cinematically? Include at least one quote from a reputable source (preferably the essays I handed out to you) and include evidence from the films to back up everything you say.

What specific innovations in film style were developed in these two films? Choose either Cabinet OR Nosferatu AND one film of your choice and compare the two films. Be specific and thorough and speak cinematically.

Extra Credit: Casablanca

Choose a cultural context through which to examine the film Casablanca. Give a brief overview/review of the film and then choose a scene and one cinematic element that you can use to look at that cultural context.

Examples of Cultural Context include:

Economic
Geographical
Historical
Institutional
Political
Social
Technological

Please refer to the handout for more description of Cultural Context.

Minimum: 1 paragraph

Griffith and Offscreen Space

Find 3 instances in Birth of a Nation where Griffith employs the use of offscreen space. Describe the scene (give time code) and what you see in the frame (in detail). What is being implied with the offscreen space?

Think of 2 instances in other films (any films) where offscreen space is employed by a filmmaker. Tell me the name of the film, as well as what scene you chose. If you have a link, please include it. Describe what is seen on screen and what is being implied offscreen.

Here is a link to Birth of a Nation.

IB Film Guide

Here is a copy of the IB Film Guide. We will go over this guide in class throughout the year, but you should also be very familiar with it on your own.

https://www.buffaloschools.org/site/handlers/filedownload.ashx?moduleinstanceid=4343&dataid=192152&FileName=IB%20Film%20Guide.pdf

The General and The Gold Rush

Watch Chaplin's The Gold Rush and compare and contrast it with Keaton's The General. Think about everything you've learned thus far in terms of reading film. Discuss open/closed framing, kinesis, narrative, etc. Refer to your textbook if you need assistance with the vocabulary. Use at least one quote from the articles I gave you in your response.

Both films are available here:

The Gold Rush
The General

Early Films

Read about Edison, Lumiere Brothers, Melies, and Porter at EarlyCinema.com.

Watch at least 3 films from Edison, Lumiere Brothers, and also The Impossible Voyage by Melies on your own. Don't forget to finish watching The Great Train Robbery as well. You can search for the films and choose whatever ones you want from Edison and the Lumieres. All of the Edison films can be found at the Library of Congress and can be accessed here. Please be sure to tell me the name of the film and who made it and answer the following questions:

• Do you notice anything particular about the film’s presentation of cinematic space—what you see on the screen? How does this differ from films you watch today?
• What does the filmmaker compel you to see? What is left to your imagination? What is left out altogether?

Getting to Know You

What are your expectations for this class and for yourself in this class? What do you think of when you hear the word movie? What is your favorite movie? Why?