The Film Eye School is a film theory and creation school in the Soviet Union in the early 1920s, formed by a group of documentary filmmakers led by Djiga Vertov. The first experiment was made with the method, and the film's recording function was theoretically advocated, and the film "The Man with the Camera" was created by this school under the theory of "movie eye" proposed by Vertov. The documentary "The Man with the Camera" has no storyline or protagonist throughout the film. And she used passionate, fast-paced music and fast shots to spliced together fragmented life scenes. And there are more close-ups and perspectives, focusing on recording people's movements and expressions, and the transformation of the entire city's environment. At the beginning of the film, the person holding the camera focuses on ordinary people, reflecting their daily life. The whole film is a film to show how the camera records life, how the photographer shoots and edits. In the opening and ending, the movie theater scene is explained, and the after-view "The Man with the Camera" is after watching. It is interspersed with many photographers adjusting the camera's lens, and an eye will appear in the lens. This is exactly the point of view that the director wants to express - a movie camera is like a human eye, it transcribes the world that it sees on the screen, but the movie camera is like a human eye. Far beyond the human eye, the flexibility of time and space in the film enables it not only to record the objective world, but also to describe and express subjective impressions through complex editing techniques. Therefore, movies should absolutely abandon falsehood and focus on the real and vast objective world. Capture life unexpectedly. Therefore, in the film, we often see people with cameras carrying cameras in the streets and alleys, running around. There are cleaners, parks, shops, trains, women, beaches, and even passers-by at these ends. It records the most objective and real life scenes without modification. What is impressive is that in a segment, the exciting and fast-paced music suddenly slows down, the camera is aimed at each photo, and when each photo is frozen, there will be dynamic image insertion. Using several sets of shots of people cutting hair, washing dishes, and sharpening knives, the photographer's adjustment of the camera's shots is skillfully assembled in a montage method, and how the photographer shoots and edits are expressed in this form. At the end of the film, the city in the shot is divided into two halves, and the zoomed-in photographer is shooting people in life. The director uses the overlapping images to give people a real feeling in a virtual form, which expresses the photographer's life in our The surroundings, like our eyes, can record the details of life at any time, but many people do not realize the ubiquity of cameras. Another shot is that when the photographer's lens is aimed at those people, they can't help covering their faces, or run away immediately, just like human eyes, when you are constantly being watched by a pair of eyes, you will feel uncomfortable. Life in this black-and-white silent film feels cluttered, with no storyline, and a lot of bipolar footage. But she was also the pioneer of the "movie eye" school, but it began to use a lot of montage and has a place to be reckoned with.
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