Vertov believed the camera (Cine/Kino Eye) captures more than the eye is capable of. It can draw attention to the real world by virtue of how images are ‘organised’
The film demonstrates ‘cinema is not about capturing truth but creating a mediated reality that is not least made in the generative process of editing and viewing.’
Sequence 2 from Man with A Movie Camera
How the sequence is organized
The organization of such clips highlights the class distinctions, between the working class (proletariat) and upper class (bourgeoisie). Vertov felt that cinema had the power to communicate things such things that the eye cannot see directly.
Être et Avoir: in general
Observational style of documentary it attempts to obliterate signs of production and the hand of the film-maker. Être et Avoir therefore presents an unmediated reality. The observational mode stresses the nonintervention of the filmmaker. Such films cede “control” over events that occur in front of the camera… (Ibid., p. 38) ‘This mode, characterised by long takes and handheld camera that seems simply to follow the action, suggests that the camera is offering a ‘window on the world’. This allows us to simply see what’s happening and make our mind up about the events (there is no voiceover). This mode was pioneered by the ‘direct cinema’ of Richard Leacock and Frederick Wiseman, amongst others, in the early 1960s. It became possible with lightweight cameras and the ability to synchronously record sound.’ ‘Occasionally the film ‘lapses’, compared to the strict tenets of direct cinema, when children look into the camera and the editing eschews long takes and so, to an extent, draws attention to itself, and so to an extent breaks the ‘window on the world’ effect.’
Compared to MWAM where the camera man is regally shown.
The organisation of the film, seasonal but also the daily lives. The bus comes...
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