Project files!

Link to all of my files! :)

https://www.dropbox.com/sh/icwmls9m7t5cj4z/AABXuttJHb-cRnx1arWSHy0Ia?dl=0

Final

Sequence 01 1 from Megan Stevenson on Vimeo.

Exercise 2 - Documentary - "Subliminal Messages"

Better late than never. Heh

Response to Kino eye and Einstein MOntage

  

Both writers (Vertov and Einstein) were trying to explain on cuts primarily in their own literature. Cut produced during the movie brewing period is a process of connecting or linking the notion of images in a continuous form.

Soviet-ian  Vertov’s Kino eye essay article is an encounter of automata eye in response to the political manifesto. The art of film making endeavors to catch the notion of universal phenomena and limits everything and every action into a compact form. The task of gathering objects via camera and simplifying the complex form of ubiquitous juxtaposition in a simple form using the lens is a strikingly amazing subject that helps humans to pursue emotions in a short period of time. The hegemony of camera is the main purpose of the article that the writer wants to address to us (readers).

 Similarly, the art described in the second essay by Einstein is based on various types of montages. 

The quintessential idea of Einstein Montage denotes to the work of generating a motion picture with various taste of cuts such as rhythmic, tonal, metric, intellectual and overexposed. All of the cuts activates their own type of melodies during the movie performance. For instance, Rhythmic montage refers to an attachment of reel that produces rhythmic flow while perceiving cinema. The absorbing scheme during the cinema period tricks viewers eye with a magical flow and provides a lesson automatically.

Abstract Vid_ Robot

ROBOTS from Juan Ruio on Vimeo.

Eisenstein - Vertov

Methods of montage uniquely words how a montage is formed. A montage can roughly encompass all film and video that requires some kind of cutting. When this reading describes the different forms of montage Metric, Rhythmic, Tonal, Overtonal, and Intellectual; it can be hard to classify a scene from a video or film as just one of these types. A more real world film example that came to mind is the timing of clips. A sad part of a movie may have longer shots compared to a fight scene which some clips may be less than a second. The timing of the clip can say a lot about the piece, which can set the scene and mood. I find this extremely important when editing videos to keep the video flowing smoothly. Kino-Eye has some interesting points about the movie camera. Cameras can be forced to copy what our eyes see or it can give us a whole different perspective. The camera has the ability to distort time and can show movements and angles that can’t be experienced in real life. I think this is a very important aspect of film and video because the camera techniques and editing show us the more important part of the piece. Viewing things from a stationary point of view like a human spectator would make things very tiring very quickly. By using these techniques we can maintain the audiences interest.

Response to Kino Eye and Methods of Montage

Kino Eye:
I really enjoyed the title font and photographs, the picture of the eye within the lens is my favorite. By seeing those images I knew that the author must be eccentric and original before I started the article. I also noticed that the way the article is written makes it look like poetry. This seems like a stylistic choice to emphasize the romance and raw emotion in film. The most relevant part is when he says that the camera eye "schematizes" scenes in our life, which basically means to simplify. So in essence, the best part about film is that it shows what our eye is most interested in instead of everything our eyes can behold.

Methods of Montage
Montage is my favorite way of editing film, as you can probably see from the films I have created. I enjoy taking things that don't have anything to do with each other and smashing them together to make something comprehensible. I like how Eisenstein says "simple relationships are necessary for maximum effectiveness", because the act of montage is already really complicated but when the subject or score of the film is kept simple then everything flows together well.