Cinema as a Language
Cinema as a Language
Silence film had reached its artistic peak by 1928. It seemed like cinema had developed into an art most perfectly with silence. The realism that sound would bring could only be seen as chaos. However, the sound proved that it didn’t come to destroy; on the contrary, it had a responsibility and it came to fulfill its mission to the cinema. The point is whether the technical revolution formed by sound track actually the aesthetic revolution. Considering editing, we cannot see a huge gap between the silent and the sound film. On the contrary, when comparing the directors before 1928 and after that time, it can be truly seen that there is an evidence that shows the close relationship. Certain cinematic values were carried over from the silent film to the sound film. However, the more important issue is to contrast certain styles and different concepts of cinematographic expression. According to Bazin, in the cinema between the years 1920 and 1940, there was two opposite trend; directors who followed the path of the “image”, and the directors who followed “reality” in their films. Image in here means everything represented on the screen is attributed to the object that is represented. Image can be seperated to two headings; those that related to the plastics of the image and the resources of montage. Plastic image is about the composition. It is the style of the sets, make-up, and the performance; lighting and the framing of the shot. Montage sets the film apart from the “animated photography”. It brought a new point of view to the cinema as an art, and it created a language. Scenes are broken down just to analyze an episode according to dramatic logic of the scene.What montage conceals is this fact of the analyze, so the spectator naturally have the same viewpoint with the director when considering the action. The developing process of the montage can be seen when analyzing it as parallel montage, accelerated montage and
Silence film had reached its artistic peak by 1928. It seemed like cinema had developed into an art most perfectly with silence. The realism that sound would bring could only be seen as chaos. However, the sound proved that it didn’t come to destroy; on the contrary, it had a responsibility and it came to fulfill its mission to the cinema. The point is whether the technical revolution formed by sound track actually the aesthetic revolution. Considering editing, we cannot see a huge gap between the silent and the sound film. On the contrary, when comparing the directors before 1928 and after that time, it can be truly seen that there is an evidence that shows the close relationship. Certain cinematic values were carried over from the silent film to the sound film. However, the more important issue is to contrast certain styles and different concepts of cinematographic expression. According to Bazin, in the cinema between the years 1920 and 1940, there was two opposite trend; directors who followed the path of the “image”, and the directors who followed “reality” in their films. Image in here means everything represented on the screen is attributed to the object that is represented. Image can be seperated to two headings; those that related to the plastics of the image and the resources of montage. Plastic image is about the composition. It is the style of the sets, make-up, and the performance; lighting and the framing of the shot. Montage sets the film apart from the “animated photography”. It brought a new point of view to the cinema as an art, and it created a language. Scenes are broken down just to analyze an episode according to dramatic logic of the scene.What montage conceals is this fact of the analyze, so the spectator naturally have the same viewpoint with the director when considering the action. The developing process of the montage can be seen when analyzing it as parallel montage, accelerated montage and