Vertov. The photographer standing at the camera at the beginning is so cool.
The moment when the man blinks and the fast switching of the hand-held lens shooting scene is definitely an excellent practice result of the "Kulishov effect", and the element of "eye" is also in line with Vertov's "movie eye school" attitude: Rejecting feature films and advocating newsreels, films should be recorded objectively like eyes, and given specific meanings to living materials through montage, the basic means of film organization.
The camera turns to refer to the change in the content of the shot; the language of the shot is excellent, I really love it.
I think this film inherits some of the concepts of "music of the eyes" and "visual symphony" in the pure film. The whole film is matched with music that sounds very avant-garde now, and the picture constantly adjusts the speed and way of changing with the music. ——At the same time, there are a lot of montage techniques: fast and slow motion, multiple exposures (overprinting), cross editing (parallel narration), the use of various scenes, and even some tricky angles that are difficult to accomplish without special effects now—— Rising and falling from the roof of the room, the bottom of the train..
In particular, the abrupt end of the music at the end combines with the eyes in the picture and the front of the lens through the superimposition technology to form a unique beauty. Vertov emphasized his point of view again at the end: the lens is the eye, just those pictures. It's all the human world that I see in the lens, and finally belongs to my eyes.
So wonderful, so classic.
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