Aims and the objectives In this the research I have analyzed three characters Bill Morrison (American filmmaker), Dziga Vertov (Soviet film director) and Jodie Mack (film director). The filmmaker I have concentrated on is Bill Morrison, he is popular for his recontextualization and montage to understand his style and how to apply it to my work I had to: Execute an analysis to understand how did Bill Morrison approach that level of recontextualization and montage. Review some of his project to visualize methods he uses. Morrison at some point was largely concentrating on the archival footage, which then has benefited the work he has developed and the method he had built. Further important point to mention is the music Morrison uses. …show more content…
The movies provoking event is the 1978 Dawson City movie attain when more than 500 nitrate movies of the soundless period of time were found in the permafrost-filled swimming pool of a deserted sports center in the Yukon. The build-up involved historical pieces, shorts, serials, and newsreels, containing footage of the 1917 and 1919 World Series. A further popular filmmaker could have produced an exceptional documentary on the exploration and its sequel, though Morrison is not the usual documentarian. Therefore, this reveals how accurate Bill was making his actions and what manner of studies he was building his work upon to gain the …show more content…
Also, Bill states: "I execute the movies I make according to my personal responsiveness. Furthermore, he states: “I don’t concentrate on my methodology, technique, or content obsolete, therefore considerably normally I am not endeavoring for ideas to liberate from “archaism”. The technological scans you see of primary falling nitrate prints is modern media. Plus, you can’t detect these icons anywhere else except in my films." Decasia, which demonstrates the production of the found-footage montage as an innovative technique to reborn the media (movie) archives. The duality of time as both historical subject and existential force in Morrison’s films also provides the fulcrum for the filmmaker’s documentary and experimental tendencies. The type of filmmaker that is not simply described, Morrison, is as inspired in strengthening his viewer's sensational feeling while he is in illustrating historical time
This analysis will explore these cinematic techniques employed by Pontecorvo within a short sequence and examine their effects on our understanding of the issues and themes raised within the film.
Grainge, P., Jancovich, M., & Monteith, S. (2012). Film Histories; An introduction and reader. Edinburgh: Edinburgh University Press.
Rosenstone, R.A, "The Historical Film: Looking at the Past in a Postliterate Age," in The Historical Film: History and Memory in Media, edited by Marcia Landy, (New Brunswick,New Jersey: Rutgers University Press, 2001): 50-66.
During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that, examining post classical at which time the relationship between them will become evident. It is my intention to reference films from both movements and also published texts relative to the subject matter. In order to illustrate the structures involved I will be writing about the subjects of genre and genre transformation, the representation of gender, postmodernism and the relationship between style, form and content.
Rascaroli, Laura. "The Essay Film: Problems, Definitions, Textual Commitments." Framework: The Journal of Cinema and Media 49.2 (2008): 24-47. JSTOR. Web. 08 May 2014.
In the film V for Vendetta the director James Mcteigue uses a range of different film techniques in order to gain the audience's attention and to make the movie more interesting. The four film techniques I’m going to focus on in this essay are editing, music, camera angles and the lighting. I am going to do this by analysing the ‘Domino Montage’ scene.
Analyze a film shot or scene to explain how filmmakers use cinematic techniques to tell a story, develop characters, create atmosphere, and evoke emotions.
...use of documentary style lighting and discontinuous editing that diverges from the Hollywood “invisible” editing. Through understanding the historical climates these two seemingly similar French cinematic movements were in, the psychology of a generation can be visualized in a way truly unique to the indexicality of the cinematic medium.
According to historians like Neil Burch, the primitive period of the film industry, at the turn of the 20th century was making films that appealed to their audiences due to the simple story. A non-fiction narrative, single shots a burgeoning sense
Filmmaker and theorist, Lev Kuleshov, is known today as the grandfather of Soviet Montage theory. His works include The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks (1924), Death Ray (1925), The Great Consoler (1933) and We from the Urals (1943). Kuleshov’s life work has had a profound influence on the filmmakers around him and filmmakers today. One of his greatest triumphs was cofounding the Moskow Film School, the world’s first film school. In a time when filmmaking was still in its infancy, Kuleshov was perhaps the first to theorize about the power of this new story telling medium. These theories and experiments would pave the way for future Russian film giants like Pudovkin and Eisenstein (who briefly studied under him).
... Film Art: An Introduction. 5th ed. of the book. New York: McGraw-Hill Companies, 1997.
In the presented essay I will compare the style of work of selected artists in the montage of the film. I will try to point out some general regularities and features of Soviet cinema. At the same time I will try to capture especially what is common in their systems and similar or conversely what differ. For my analysis, I will draw on the feature films of the Soviet avantgarde, namely these are the movies - The Battleship Potemkin (S. Eisenstein, 1925), Mother (V. Pudovkin, 1926) and The Man with a movie camera (D. Vertov, 1929).
Morrison uses music as both a structural and a symbolic element in her work. Music often carries information about community knowledge, aesthetics, or perspectives. Toni Morrison often discusses the power of music and the way it functions in culture in discussions of her craft. (…) Symbolic and structural elements of music appear throughout all of Toni Morrison’s fiction in one way or another. (Obadike)
The reclusive film director Terrence Malick has to date, only directed a small number of films. His twenty year hiatus between directing Days of Heaven (1978) and The Thin Red Line (1998), may provide the explanation for such a sparse back catalogue. Malick’s refusal to talk with the media, has led to hearsay, as to how he occupied his time during the hiatus. Malick’s directing debut Badlands (1973) is a collection of concepts, all carefully moulded together to create one iconic piece of film. This process draws in and also alienates the audience. Malick’s style is positively noted by critics to be influenced by European philosophy. This is clearly due to Malick’s study of philosophy at Harvard and Magdalen College Oxford. There is no given explanation to the mindless violence featured within the film, mainly due to the films resistance to the straight forward approach. The familiar and the unknown are carefully merged together. The only way of gaining an understanding into the hidden meanings within Badlands is by breaking down the film, by looking at the characters, the use of sound, the visual setting and the films genre. The illusionary effect of Malick’s style means that all is not as it seems.
Soviet cinematographer Sergei Eisenstein argues that the basis of cinema is dialectical montage. In his article “A Dialectical Approach to Film Form”, Eisenstein explains dialectics as “a constant evolution from the interaction of two contradictory opposites” (45). These opposites synthesize and form a new thesis, which then may also be contradicted. Eisenstein employs dialectical montage in his films due to its ability to invoke change, an important goal in a revolutionary society. His film Battleship Potemkin is designed to display this theory and create a psychological change within his audience, corresponding to his revolutionist ideals.