Foreign Film History

It is the film theory, creative method and aesthetic system initiated by Soviet film director Ji Gavel Tofu in 1923. They compare the movie camera to the human eye, advocate that filmmakers use the camera to "catch life by surprise", oppose narrative movies and artificial performances, and exclude actors, makeup, scenery, lighting and artistic treatment from the studio.

Wiltoff believes that there must be a movie that can get rid of the artificial plot and record the real war scenes and social reality, so he put forward the theory of "lens-eye" from the essence of film recording and founded the very famous "film eye school". The so-called "movie eye" means that the camera is human's naked eye, the world seen by the camera is human's world, and the camera is even more powerful than the naked eye, that is, "the camera is an extension of the human eye". The theory of "movie eye" was imitated by Kuleshov and others, which influenced the development of montage.

The man with the camera

It is a film created by the famous Soviet director Viktov in 1929. The film presents a careful layered structure: on the surface, it is an urban symphony that records the ordinary life of the Soviet working people, while the inner layer tells how the camera records life and how the photographer shoots clips.

In this film, Wiltoff creatively adopted the methods of "on-site shooting", sneak shot and forced shooting, and tried his best to reject the use of traditional scene scheduling, movie scripts, actors and studios, and practiced his "film school theory".

Technically, the film also created editing techniques such as split screen and secondary exposure; Theoretically, it creates a "self-exposure" shooting technique, that is, the photographer appears in the film. The greatest significance of this film lies not only in recording the real life scenes of an era and a city, but also in the value realized by the combination of theory and technology, so this film is a great work.

Cinema Verite

It is a genre of film creation characterized by direct recording since the late 1950s. Including the French real film movement and the American direct cinema movement. Its inspiration comes from the theory and practice of "Movie Eye School" by Soviet director Ji Gavel Tofu.

| Real movie |

Real movie advocate: (1). Shoot real life directly and refuse fiction; (2) Don't write scripts in advance, and don't use professional actors; (3) The film crew consists of only three people: the director, the photographer and the sound recorder, and the director personally edits the negatives. In this type of film, the only difference between French real films and American direct cinema is that the French advocate that the director can interfere in the shooting process, while the Americans try to avoid interfering in the process of events and ask the director to take a strict and objective position so as not to destroy the natural tendency of the object.

The shooting method of a real film requires the director to accurately discover the event and predict its dramatic process, and the film crew to be quick and decisive. This way will inevitably cause great restrictions on the theme of the film, so there are few real film works. As a genre, the real film is of greater significance because it provides a shooting method to ensure the greatest authenticity for the creation of general feature films, and its influence is far-reaching. The representative figures and works of realistic movies are: A Summer Story by Frenchman Jean Rouse and David by American Richard Leacock.

(From notes) For more details, please see Share, the public study room.