Evaluation of people's movies with cameras

The film begins with a unique collage shot, and the photographer stands on another huge camera with a camera on his back. This shot seems to show that the camera is subjective, by contrast, the photographer is smaller. Wiltoff's most important theory is "Movie Eye Theory". This theory claims that the lens of a camera has the function of recording and displaying, so it is superior to the human eye. The core of this theory is to compare the movie camera to the human eye. The task of the filmmaker is to "unconsciously capture life" with the camera and oppose artificial reproduction and performance. So from the beginning, the film showed a strong emphasis on the camera function. The first scene of the film took place in a cinema, and through constant montage editing, the meaning that the film was about to start was expressed. First of all, the audience was not seated and the cinema was empty. At this time, the folding chair magically folded and opened, as if expecting the audience to enter. Then the audience went into the cinema one after another, waiting for the film to be released, and the band and projectionist were ready. Subsequently, the curtain of the film slowly opened. Then, from a shot slowly pushed to a window, the sky gradually lit up and the sleeping person slowly woke up. The director used a series of lens combinations showing bedrooms, streets, buildings, street lamps, windows, parks and even various people to show the arrival of a new day in this big city. Banks, typewriters, factories, cars, newspapers, ships, oil tanks, traffic lights, textile machines and small streets, people began to get busy. A car stopped in front of the photographer's apartment. The photographer put on a tripod and camera, got on the bus and set off, and began to go to different places to photograph the life of the city. It seems that the photographer's shooting should also be the spirit that the movie eyes should capture. Photographers stand in different positions and take different photos, on the bridge, on the rails and in the jeep. Buses leave the garage one after another, which shows that people have been busy all day. Then, shops began to open, factories started to work, boilers started to run, and people devoted themselves to work and life with passion. After the crazy passion, the director began to show warmth, and the photographer took the machine to the street. In downtown, the hardships of people's work and life flow slowly in his pen. But soon, the film returned to a high-profile theme. The director showed the busyness of the city through a series of clips about trams, trains, carriages and stations. In particular, the author put the machine on the camera to make the people in the carriage move, which is very experimental. Next, the film begins to move towards a sad stage. The author thinks that today, this is the most infectious and humanistic segment of this film. Different people walk into an office, some are couples who come to register for marriage, and some are strangers who are about to leave. Doubt, reluctance, crying, despair, forbearance and pain are magnified to suffocating in front of the back-and-forth camera. What is even more shocking is that the director spliced these scenes with the birth of a baby and the death of a person, forming a strong visual appeal. Then, the film returned to the normal track of daily life. Photographers are in the building, taking pictures of people coming and going, taking pictures of elevators going up and down, day after day, and going back and forth. Then, the photographer returned to the car again and followed the busy scene of ambulances and fire engines. The back-and-forth editing of the wounded, doctors, ambulances, fire engines and firefighters strengthened the real sense of busyness. After that, the melody of the film slowly turned to nobility and holiness, and the different fates of different women were revealed at this moment. A well-dressed woman is in beauty, while another woman in rags is working hard; One woman is washing her hair, and the other is washing clothes hard; Barber shops, shoe stores, assembly lines, sewing machines ... the opposite side of the lens has an uncertain meaning. After a quick editing of making cigarettes, knitting, typing, making phone calls, making up and playing the piano, the living conditions of women in all walks of life in the Soviet Union jumped to the screen. The photographer continued his journey, aiming at a big river. In this part, photographers and cameras appear most frequently, and the photographer with the camera himself is the subject corresponding to the choppy river. The photographer even came to the tightrope and photographed the flood discharge of the dam, which was an extremely shocking scene at that time. Ma Benteng-style flood discharge and the rotation of factory machines have formed a good correspondence, which has strengthened the search for socialist ideology. Later, the director used an extremely avant-garde technique to show the scene of lathe running in the factory, the deliberate change of picture speed and the regular shaking of the lens, which produced a strange aesthetic experience. After that, the wind-like alternating shearing between the photographer and the machine operation strongly highlights the photographer's sense of existence. In the last part, the director seems to show the life of the Soviets after work. The photographer first carried the camera to the street and photographed the bustling street. Followed by the seaside leisure activities and sports lens combination of nearly 10 minutes. Back in the cinema, people are watching the film shot by the photographer. With the high-speed editing of eyes and pictures, the film came to an end in the overprint of lens and eyes. The documentary "The Man with the Camera" has no story and no protagonist. And she uses passionate, fast-paced music and fast shots to piece together fragmentary life scenes. And there are many close-ups and prospects, focusing on recording people's movements and expressions and the changes of the whole urban environment. At the beginning of the film, people with cameras aim at ordinary people and reflect their daily lives. The whole movie is a movie to show how the camera records life and how the photographer shoots and edits it. Both the beginning and the end of the film explain the scene of the cinema. There are many photographers debugging the camera lens, and there will be an eye in the lens, which is exactly what the director wants to express-the movie camera transcribes the world it sees on the screen like the human eye, but the movie camera is far better than the human eye. The flexibility of film time and space makes it not only record the objective world, but also describe and express subjective impressions through complex editing techniques. Therefore, movies should absolutely abandon falsehood, aim at the real and broad objective world, and capture life by surprise. So in the film, we often see people with cameras running around in the streets. There are cleaners, parks, shops, trains, women, beaches and even passers-by at both ends. It records the most objective and real life scenes without any modification. What impressed me deeply was that in a paragraph, the passionate and fast-paced music suddenly slowed down and the camera was aimed at one photo after another. When each photo is frozen, a moving image is inserted. Using the lens of several groups of people cutting hair, washing dishes and sharpening knives, the lens of the photographer's debugging camera is skillfully combined by montage, and the photographer's shooting and editing are shown in this form. At the end of the film, the city in the lens is divided into two halves, and the enlarged photographer is shooting people in life. The director uses overlapping images to give people a real feeling in a virtual form. It expresses that photographers live around us, just like our eyes, and can record the details of life at any time, but many people don't find cameras everywhere. Another scene is that when photographers aim at those people, they can't help covering their faces or running away immediately, just like people's eyes. You will feel uncomfortable when you are constantly stared at by a pair of eyes. Although the life segment of this silent film feels chaotic, there is no story and many bipolar lenses are used. But she is also the pioneer of the "movie eye" school, but it began to use a lot of montages, which has a position that cannot be ignored.