Man With A Movie Camera

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.’

PARAGRAPH 2

Sequence 2 from Man with A Movie Camera
How the sequence is organized
- -juxtapositions
- editing techniques
- fast motion

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.

PARAGRAPH 3
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’
The film can be seen as existing in 4 main sections that of winter, autumn, spring and summer.
With its inception (collection of students in the early morning), middle (daily work punctuated by ups) and its end (visit the college and vacations), "To Be and To Have" is based on a linear dramaturgical structure.
It is a sensitive study of a year in the life of a small rural primary school in the uvergne, with emphasis on the seasons which tructure the school year.
The film is grounded in the rural geography of France but is punctuated with the seasonal work in the fields. The change in climate is also seen to reflect the change in the children’s ‘temporality of a constantly evolving nature echoes the idea of time needed to work and student learning.’
The film starts in winter, amply depicted by heavy snow in which the school bus collects the children, and charts the life of the teacher and his charges through four seasons, culminating in a moment when good-byes must be