Analysis of Vertovs Film :: essays research papers

In the zany players 1991 film The Drug Movie, the art of moving picture verite is taken to heights of realism not seen since Roberto Rosselinnis triumphant Rome, contribute City. By combining realistic settings, lighting, sound, etc. with keenly observant camera placework forcet, the filmakers draw us into a world very a couple of(prenominal) of us ever actually see outside the comforts of a theater. Dziga Vetov, in his essays on the nature of man as seen through and through the Kino-Eye, fey upon something that the makers of The Drug Movie are obviously very aware of. That is, the camera, to a greater extent so than anything human, will see to the core of its target. Beyond the actors, beyond the sets and excess effects, is the soul of the film. If the emotion is pure and the situations genuine, than the camera is but a windowpane to the truth. The Clown Players have crafted a finely nuanced caseful of this cinematic h onesty with The Drug Movie.The films possible action i s startling and immediately draws us into the unfolding drama. We are given a plan glimpse of a very annoying girl mentioning her hometown of red coral Springs Florida. The scene quickly shifts to static than the glare of an incandescant ceiling lamp. Within this plan montage, the filmakers have raised our expectations and shifted them within a few brief moments. This masterful use of cinematic manipulation is but a foreshadow of the upcoming events. Nothing is what it seems and nothing can be predicted. Like life, this picture palace canvas is painted with the ever-shifting brush of the unknown.From the lamp, the camera pans to our players. Three males, two white, one black sit around table. As they talk, their dialogue is somewhat dull and difficult to decifer. It soon becomes painfully obvious that we the attestant are not privy to this cabal. Again, the Clown Players continue to exhibit accomplished control over their audience. As the camera cuts in for a scalelike view of the group, we finally hear the topic of their intense exchange. Two of the men are working diligently on a model car. atomic number 53 of them, Lance ( Chriss Celentano, beautifully underplaying his rather nebbish character) is thoroughly absorbed in his work. Across from him, Dirk (Big A in another of his unfortunately underdeveloped characterizations) flips through an instruction book. The clowns have blocked their scene in order for the viewers attention to fall upon the young man seated at the head of the table.