The film La Jetée by Chris Marker was created almost entirely with still photographs and one brief shot of motion pictures. The film was a story about post World War III and experiments in time travel. The technique of using still images to construct the film gave a sense of time being frozen and the still images portrayed as pieces of memories. There was a moment that was different from the rest of the film, the still images turned to a shot of motion scene. The scene I selected to analysis is where the woman was in bed and has just woke up by the sounds of birds chirping which showed the transition of the still images to motion pictures and emphasized the relationship between time and space.
Throughout the film, Marker used the still photographs as the connection to the man’s memories and to show the relationship between the past and the future. With that one shot of motion scene, it created the association between time, space and memories. Before the film turned to motion scene of the woman waking up, and blinking, there were series of still images of the woman tossing and turni...
Right from the start, Murray starts with diction that packs a punch. He strikes emotionally by mentioning that he finds himself looking more and more at photographs and wanting to “snatch a moment of time”, and by saying this, he’s expressing that time is limited and that he misses the past. Throughout the first page of his work, he repeats over and over how he hardly remembers what has happened, and how it is like a phantom to him. This diction sets the scene for his major point
One of Ghost World's greatest accomplishments in editing is the use of continuous motion both within and between scenes. The film begins using this technique with a scene of the main character Enid, dancing along with a woman who is performing on her television. The camera cuts back and forth between the television and Enid, Enid picking where the dancer on TV left off. The result is the feeling of one continuous dance shared by Enid and the woman performer. Continuous motion is also used as a tran...
... time line of events. Which also goes hand in hand with Jacks insomnia, which shatters the barriers between reality versus fantasy, and memory versus dream for the spectator. Lastly the vast and bizarre camera angles from which the film was shot in help maintain the uncertain feeling for the spectator.
La Jetée (1962) is a science fiction narrative directed by Chris Marker, base on a third-person narration. It is a 28 minute long film that comprise of black and white still images in sequence rather than a moving footage. It is set in a post World War lll in Paris whereby a survivor of this post apocalyptic was sent back in time by some scientists for their time travelling experiment due to his strong attachment to a memory that was haunting him as a child. The film is directed from the present to the past memories and to the future, but ended with a plot twist whereby the film when back to his past again. La Jetée started off with a description of a memory by a boy who witnesses the death of a man at the airport and ended with the same scene,
During this film, the first thing noticed that classified this film as an art film was the very first scene, when the music is playing and the earth slowly rises with the sun in the background. This goes on for about 3 minutes ...
She captured moments in these children’s lives that in some way seem magical and unreal, especially to adults living in the 21st century. But in fact these dreamlike instances happened all the time – or that’s what her work would have us believe – she simply took the image at the right moment.
The media object selected for analysis is the Daguerreotype. Louis-Jacques-Mande Daguerre (1787-1851), a Romantic painter and printmaker, had introduced the Daguerreotype on 7th January 1839 and would forever change the perspectives of the visual experience through photography (Daniel, 2004). Ever since the advent of the Daguerreotype, people were able to view a detailed imprinting of a certain visual frame on a treated sheet of copper (which today is called the film) (Daniel, 2004).
Just about everyone can voice their opinions on a film that viewed as we all do after leaving the theatre. It may be found to be useful when a friend or individual is interested in seeing the film themselves. However, I believe the only way that you could understand a film is by analyzing the film beyond the average person. When one begins to analyze they begin to develop an understanding of the film and may grow to love the film. The director Hitchcock is a fairly well known director. He has directed many different films from Vertigo to Psycho that are found to be popular with the viewers. In this paper I am going to analyze certain elements that spoke out to me during the film. Those elements that spoke to me the most during the film was the lighting techniques, camera movement, and symbols.
During the film Buster Keaton: Sherlock Jr (1924). and music video Sledgehammer by Rihanna the directors use a series of continuity and discontinuity shots as well as spatial and temporal relations throughout the film to entertain its audience. For example, the film presents spatial discontinuity at the beginning of Buster Keaton’s dream as he finds himself in a movie theater. In the beginning of the film he is in and out of the film portraying himself as part of the film, changing space shots constantly.The music video also presents spatial discontinuity--- while Rihanna appears in different screen shots throughout the video, she goes from being up in mountain like rocks to floor level.
Mattie, Cogburn, and LaBoeuf’s journey through the Choctaw Nation is a long, gruesome one. The scene features a couple of cinematographic techniques that make it very memorable. One of these is editing. The group’s journey takes approximately ten hours, but Deakins uses time lapse cinematography to make it much shorter. The images dissolve into one another with each new image bringing them farther into the Indian Territory. This technique shows the distance the Mattie, Cogburn, and LaBoeuf travel by compressing the time. Another ...
With the discovery of techniques such as continuous editing, multiple camera angles, montage editing, and more, silent filmmaking developed from simple minute-long films to some of the most beautiful, awe-inspiring films that have ever been created—in only a few decades. In Visions of Light, someone alluded that if the invention of sound had come along a mere ten years later, visual storytelling would be years ahead of what it is today. This statement rings true. When looking at the immense amount of progress that was made during the silent era of films, one must consider where the art of film has been, where it is, and where it is
Montage is from the beginning of the twenties characterized as a process of synthesis, building something new and in terms of the physical planes also something quite simple. Most montage’s films were created as a dialectical process, where initially from a two meanings of consecutive shots form a third meaning.
In the early 1900’s Georges Melies introduced his film “A Trip To The Moon” to audiences in France. This film, when first seen by viewers at this time, was jawdropping. Melies who happened to be a magician, and illusionist before becoming a filmmaker, made one of the first-ever narratives in motion picture history. Similarily throughout “Trip To The Moon” and many of his later films, Melies, who also worked in theatre, took full advantage of what is known as Mise-en-scene. Mise-en-scene is defined as: All the elements placed in front of the camera to be photographed: the settings and props, lighting, costumes and make-up, and figure behavior. In “Trip to the Moon” Melies created a world to which no one had ever seen on film, and utilized all the characteristics to which mise-en-scene is based upon.
Meshes of the Afternoon by Maya Deren is one of the most intriguing and significant experimental films of the 1940’s. Maya Deren is a surrealist experimental filmmaker who explores themes like yearning, obsession, loss and mortality in her films. In Meshes of the Afternoon, Maya Deren is highly influenced by Sigmund Freud’s theory of expressing the realms of the subconscious mind through a dream. Meshes of the Afternoon, is a narration of her own experience with the subconscious mind that draws the viewers to experience the events being played out rather than just merely showing the film. I chose Maya Deren for my research because her intriguing sense gives viewers an enthralling experience by taking them to a different, semi-real world of the subconscious mind. Meshes of the Afternoon not only reveals Deren’s success in a male dominant arena, but also provides a sensational and escalating experience for the spectators.
Movements can have diverse meanings according to the book Understanding Movies by Louis Giannetti. For example there are vertical movements, upward movements, downward movements, towards and away from the camera. Also, according to this film professor, physical movements that are from right to left in this exact direction seem unnatural. As mentioned previously in City of God, there is a pattern with this kind of movement that expresses ideas of power in the hands of a senseless killer, Lil Ze. To Giannetti movements are very important in a scene, since they h...