The footage is not as coherent as most of the current documentaries, and it uses a montage-like technique. I don't know how to describe it, but it seems that I understand the term "montage of eyes" in the classroom. Lenses are like eyes, seeing the world in life. Eyes are the subject, and montage is an adjective. It is a montage method to see the world from a person's perspective. The switching of shots implies logic in no logic. There may appear to be no connection between the shots. From a church, to a child, to a train... Excessive editing naturally exposes Dziga Vertov's subjective will. The control of the rhythm - not far in the beginning, the scene where the woman wakes up from her sleep and the train whizzes by is what impressed me the most. The shaky footage of the train, paired with the suddenly accelerated background music, really gave me the feeling of falling in a dream. It uses a compact rhythm to change my usual stereotype of documentaries, and even cuts the long shots and splices them separately, bites the sequence, and then sews it up, giving the film a weird sense of fragmentation. Kind of like the beggar outfit that is popular today. The designer deliberately cut the complete fabric into pieces and assembled it into a tattered piece of clothing, which even topped the Paris fashion runway. And this forward-looking "clothing" actually appeared in that distant era. After the technique and rhythm, return to the subjective will at the end of the first paragraph. Although the film from a hundred years ago cannot speak, his footage has language. The editing of the film is very important, and it can even be said that the editing tells the heart for the camera. Although the film is known from the real street and life, those silent languages have never stopped. The reason why he is said to be silent is that it is indeed a silent film, and that such language can only be understood. Expressing it through documentaries is its best destination. The language is too loud, the music is too vague, and even the brother of the documentary, the film, is too uncertain. "The person with the camera" is undoubtedly the subject of "people". Although in the end people seem to be the way for Dziga Vertov to express his politics, and such a political purpose is obviously incompatible with today's society. But at the end of the film, I couldn't help but raise my arms and shout, and shouted a wonderful sound. Equally astonishing is the way in which the shot appears in the shot. He has a god-like role in the documentary. Even techniques such as freeze frames, handwritten signs, and film rolls are used. Ziga Vertov is very bold, and every aspect of the film reveals his sense of the future. Not only does he need to be a genius, but he also needs to be a daring genius. The lady, the child, the train, the camera, everything appeared suddenly and suddenly; he made the editing and shooting appear together without hesitation, as if to symbolize that he is in control of everything here, and he is the emperor in the film .
From a photographic point of view, the composition and lighting of the lens are perfect, at least in my eyes.
It can be seen that the photographer used the proportions very well. After all, there are many candid shots in the filming, so it is very difficult to maintain the quality. The above three shots are relatively static shots of my screenshots, and the shooting changes are not large. while the following
Has a car change. It's not very obvious in the screenshot, but the car in the film has a process of changing from right to left. But in the process of changing the car, the composition is perfectly transformed from Sanqi, or the principle of the nine-square grid that we often say today, to the center. Even in the process of change, he has not given up the pursuit of beauty.
It can be seen that the photographer did not use a very absolute central principle, but a slightly inclined and blank composition that was relatively difficult to grasp.
Include the picture, place the intersection on the top right of the picture. This is somewhat close to the "nine palaces" commonly used in photography today, making the pictures more aesthetically pleasing.
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