Vertovleger

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Vertovleger

  1. 1. Vertov / Leger / Manovich
  2. 2. Building Blocks of Film • Frames (the actual still images recorded on film stock) • Shot (one uninterrupted run of the camera) • Cut (a change from one shot to another) • Mise-En-Scene (what we see and hear in the shot) • Cinematography (the angle, height, distance of the camera taking the shot) • Editing (putting shots together)
  3. 3. Montage Theory • Rhythmic juxtaposing of shots (often associatively related or purposively contrasting) • Temporal Montage (sequentially alternating shots over time) • Spatial montage (simultaneously juxtaposing images on the same screen)
  4. 4. Vertov (and Leger) as Database Cinema • Resist conventional narrative structures (through montage). • Attempt to represent the collective experience rather than the story of an individual character. • Work to develop a unique language of film (distinct from fiction, theater, or painting).
  5. 5. Continuing Influence of Vertov and Leger • Offer meta-reflection about how the medium (cinematography) shapes our understanding of ourselves and our world. • Cinematographic and editing techniques influences the development of later cinema, computer interfaces, and video games.
  6. 6. Key Questions • How do these films envision the relationship between humans and technology? • How have Vertov and Leger’s cinematic techniques influenced subsequent media composers? • How do these films represent women and men differently? • What kind of “arguments” do these films make about the societies / places / people that they represent?
  7. 7. Key Questions • How do these films envision the relationship between humans and technology? • How have Vertov and Leger’s cinematic techniques influenced subsequent media composers? • How do these films represent women and men differently? • What kind of “arguments” do these films make about the societies / places / people that they represent?

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