|
''Man with a Movie Camera'' ((ロシア語:Человек с киноаппаратом) (''Chelovek s kinoapparatom''), (ウクライナ語:Людина з кіноапаратом) (''Liudyna z Kinoaparatom'') —sometimes called ''A Man with a Movie Camera'', ''The Man with the Movie Camera'', ''The Man with a Camera'', ''The Man with the Kinocamera'', or ''Living Russia'')〔(''List of alternate titles for "Man with a Movie Camera"'' )〕 is an experimental 1929 silent documentary film, with no story and no actors,〔Dziga Vertov. On Kinopravda. 1924, and The Man with the Movie Camera. 1928, in Annette Michelson ed. Kevin O'Brien tr. Kino-Eye : The Writings of Dziga Vertov, University of California Press, 1995.〕 by Soviet director Dziga Vertov, edited by his wife Elizaveta Svilova. Vertov's feature film, produced by the film studio VUFKU, presents urban life in the Soviet cities of Kiev, Kharkov, Moscow and Odessa.〔("Movie Review Devushka s Korobkoy (1927) THE SCREEN" ), September 17, 1929.〕 From dawn to dusk Soviet citizens are shown at work and at play, and interacting with the machinery of modern life. To the extent that it can be said to have "characters," they are the cameramen of the title, the film editor, and the modern Soviet Union they discover and present in the film. This film is famous for the range of cinematic techniques Vertov invents, deploys or develops, such as double exposure, fast motion, slow motion, freeze frames, jump cuts, split screens, Dutch angles, extreme close-ups, tracking shots, footage played backwards, stop motion animations and self-reflexive visuals (at one point it features a split-screen tracking shot; the sides have opposite Dutch angles). In the British Film Institute's 2012 ''Sight & Sound'' poll, film critics voted ''Man with a Movie Camera'' the 8th best film ever made. In 2014 ''Sight & Sound'' also named it the best documentary of all time.〔(【引用サイトリンク】title=Silent film tops documentary poll )〕 ==Overview== The film has an unabashedly avant-garde style, and emphasizes that film can go ''anywhere''. For instance, the film uses such scenes as superimposing a shot of a cameraman setting up his camera atop a second, mountainous camera, superimposing a cameraman inside a beer glass, filming a woman getting out of bed and getting dressed, even filming a woman giving birth, and the baby being taken away to be bathed. Vertov's message about the prevalence and unobtrusiveness of filming was not yet true—cameras might have been able to go anywhere, but not without being noticed; they were too large to be hidden easily, and too noisy to remain hidden anyway. To get footage using a hidden camera, Vertov and his brother Mikhail Kaufman (the film's co-author) had to distract the subject with something else even louder than the camera filming them. The film also features a few obvious stagings such as the scene of a woman getting out of bed and getting dressed and the shot of chess pieces being swept to the center of the board (a shot spliced in backwards so the pieces expand outward and stand in position). The film was criticized for both the stagings and the stark experimentation, possibly as a result of its director's frequent assailing of fiction film as a new "opiate of the masses." 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Man with a Movie Camera」の詳細全文を読む スポンサード リンク
|