Man With a Movie Camera called for montage editing. That is, the editing style in which shots are not continuous, but are rather purposefully out of place to distort space, time, and information to the viewer. Montage editing is used in Man With a Movie Camera to cut between people, machines, divorce, marriage, and even childbirth to invoke feelings into the viewer’s mind. In addition, the film constantly calls attention to the fact that Man With a Movie Camera is just a movie. The viewer is constantly shown film of the cameraman capturing footage of people. The viewer is shown every aspect of the making of the film—even the cutting room. Footage of the cutting room is also intercut with still images from the film that was taken, right in the middle of a very quick sequence, just to remind the viewer that they are watching something artificial.
Man With a Movie Camera also does wildly inventive things with camera movement and angles. There is almost no place in the film where the cameraman does not venture to go. Whether it is below a passing car,...
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... that the filmmakers used in Passion of Joan of Arc come together brilliantly to tell an engaging, and tension-filled story.
The silent age of movies brought about some of the greatest advances that filmmaking has ever seen. 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 headed.
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