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Unformatted text preview: Worksheet 6 - Film History Professor Rohdie (UCF) Every lm image is a moving one whether or not its subject is moving (someone walking, eat- ing, riding a horse) or not moving (a building, a plate of food, a landscape). That is, the lm image is in time and has duration. In Dziga Vertovs The Man with a Movie Camera (1929), the lm begins with various still or empty images that begin to move or ll up, that is, become animated. The lm, like others of its kind in the 1920s, has as its subject life in the city, that is, modern life: movement, clashes, machinery, transport, encounters, surprises and at each confrontation and encounter (of im- ages), the birth of something, new and unheralded. The opening section of the lm is of the city awakening (it moves) and the cameraman awakening (he moves) and the camera awak- ening (it begins to turn) and the projector awakening (it begins to project) and the orchestra awakening (it begins to play) and the audience awakening (it gathers in the theatre and be- gins to watch the lm that already has been completed though we - as opposed to the audi- ence in the lm - are not only watching it begin, but watching it being constructed, its true beginning) and women awakening (they begin to dress: some of the most erotic images in the cinema) and trams awakening (they leave the station for the city) and shops awakening (shutters are taken down, shutters like eyes and like a lens of the camera). Each of these mo- ments, durations, openings, awakenings associations, join and loop back and form thereby a constellation-knot: awakening, a knot composed by montage. The lm is visibly a construction and its method and means is montage, not a window on the world, but a purely lmic world of combinations, additions, superimpositions, frames. These opening images are at the verge and border of movement - the lm is at the border, always about to become a lm - and at the border between the real (life) and the document (life caught unawares), units of the true, and images of these, a boundary traversed by the lm. The lm is precisely that passing from one state to another, from still images to moving im- ages, still life to the movement of life, life made into a construction, that is, into a lm (another world). No matter how still these images (a frame, a held shot) and no matter how still the subjects of the images (poised to move) they are all images in and of time, a passing beyond from one world to the next, where both instances, both universes (more accurately multiple universes and times) are visible. Many of the images in Godards lms insofar as they are citations and whether depicting movement or not, are, by the fact of being citations, second-hand images, images that have previously been, that have existed and are in his lms refound and repositioned. They have been cut out from a space where they had previously lived and removed from a time where they once were (part of a ction or part of document, or part of painting or a photograph, or a...
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- Fall '09