Name: - Amaan Siddiqui Program Name: - M.A. (Visual Effects and Animation) Semester: -3rd Semester Examination Roll No.: - 20MVE002 Unique Paper Code: - CBCX – 3IT Paper Title: - Film Appreciation Date & Time: - 08/June/22 & 10:00 am to 2:00 pm Ans-1 1. (b) Dziga Vertov 2. (d) Point of View 3. (a) Dreams 4. (b) Ferrari 5. (b) D.W. Griffith 6. (a) Newsreel Footage 7. (a) John Grierson 8. (b) Short Story 9. (b) Prominence 10. (d) All of the Above 11. (d) French Impressionism 12. (a) Elsie Beckmann 13. (d) All of the Above 14. (b) Unity of Space 15. (a) Recognizable actors, a large budget, excellent production values, appeals to a wide audience Ans-2 (c) Tonal Montage Although the aspects that determine "tone" are rather subjective, suffice it to state that a tonal montage is a sequence of photos that help to connect a viewer to one distinct feeling as they view the shots together. It's not simply the way the shots are cut at work. Tonal montages typically make extensive use of sound (both diegetic and non-diegetic), shot composition, and set design. The original source text for montages from Sergei Eisenstein's The Battleship Potemkin contains all of these aspects in action. Shots that lend emotional meaning through its content creates more complex, feelings in the audience. It uses the concept of Metric and Rhythmic but adds more emotion to it. A deep dark forest full of strange plants creates the feeling of unknown, adventure, in some cases fear, dread. A bright sunny day with kids playing creates a feeling of joy, happiness and play. (d) Cinema Verite Cinema verite is a documentary filmmaking method created by Edgar Morin and Jean Rouch, based on Dziga Vertov's Kino-Pravda ideology. It mixes improvisation with the use of a camera to reveal truths or draw attention to themes hidden beneath the surface of reality. In the 1960s, a French film trend emerged that depicted individuals in everyday circumstances with authentic language and spontaneous action. Rather than using the standard method of combining sound and image, the filmmaker records actual conversations, interviews, and viewpoints first. He or she then films the visual content to fit the sound, generally with a handheld camera, after selecting the best material. In the cutting room, the film is then pieced together. (e) Optical Sound Sound recordings are stored on transparent film using optical sound. Originally created for military usage, the technology became popular as a sound-on-film medium for motion films in the 1920s. Optical sound gradually surpassed all other sound film systems, until digital sound became the industry standard in movie theatre projection booths. Optical sound has also been employed in multitrack recording and some musical synthesisers to create effects. The fundamental benefit of optical sound is that it may be printed alongside the picture on the same film. Magnetic film, on the other hand, necessitates a separate procedure. This method is now superseded by digital printing, which uses the same film. Ans-3 (1) The Cabinet of Dr. Caligari, German Das Cabinet von Dr. Caligari, a silent German horror film produced in 1920, is usually regarded as the genre's first great achievement. It was also the first film made by the German Expressionists. Caligari is a prominent work of the Expressionist style in post-World War I Germany, and it was the first film to use surrealistic set design in a large way. The unusual set pieces created a strange universe that was praised by critics. Much of the action is shrouded in shadows, giving the drama a terrifying feel. Following the disastrous effects of World War I, Caligari gave a huge boost to German cinema. The film's morbid evocation of horror, menace, and anxiety, as well as the dramatic, shadowy lighting and bizarre sets, became a stylistic model for later Expressionist films by a number of major German directors. The exploration of themes of paranoia, terror, and insanity through mise-en-scene, cinematography, and lighting are among the stylistic approaches and formal features of German Expressionism films. This period's German Expressionism films were distinguished by their expressive commitment to externalising human emotion and desire. These films used external, objective ways to portray inside, subjective emotions and experiences. These feelings were graphically transferred onto the screen using purposely exaggerated sets and dramatic lighting, underlining the story's fear and horror. The shattered narrative arcs in the film are reflected in the jagged patterns on the floors, particularly in the asylum near the conclusion. The asylum's lines depict the numerous strands of Francis' imaginations, and Francis stands at the middle of them. The schizophrenic patterns on the floors, which are sharp and lead to several doors in the background, allude to the story's various views. The Cabinet of Dr. Caligari uses lights to further enclose its viewers in a claustrophobic environment. When photographing a subject's face in close-up, the surrounding space is frequently darkened. Cesare's introduction exemplifies this: the frame is built up entirely of his face, emphasising his terrible appearance. The murder of Alan also employs harsh shadows and low-key lighting to heighten the tension and disorient the audience spatially. The spectator never sees the actual murder; instead, we focus on the shadows fighting for their life on a nearby wall. (2) Fritz Lang's pioneering Metropolis is regarded as one of the best silent pictures ever made. It is an unmistakable symbol of science fiction, having opened the way for ambitious, future blockbusters like Blade Runner, Gattaca, and even Star Wars. The vast sets, atmospheric aesthetic, and memorable set pieces, all of which were marked by a grandiosity not previously seen in film, brought in new and fascinating cinematic traditions that are still in use today. A political film buried beneath the magnificent polish of Metropolis demands our attention. The period in which the picture was made - 1920s Germany – gave a lot of inspiration for Lang to set Metropolis in a political framework. Despite the fact that Metropolis is set in 2026, it is evident that Lang is commenting on the current status of German working and economic life. Or, at the very least, on the German societal trajectory. Germany had recently been defeated in World War One. It didn't have a choice but to accept the Treaty of Versailles because its soldiers were dying and the German people were starving. Its allies were defeated to the point of extinction. The fact that Joh and Rotwang employ technology to help her fall into disgrace is telling. Lang is well aware of how the ruling class maintains power through the use of powerful tools such as the printing press, destructive weaponry, and corrupt police personnel. Maria as a robot is a fantastical, future representation of what the affluent may obtain and use against people they want to destroy. That entire event appears to be a carefully veiled warning against empowering one charismatic individual to dictate and organise the working class. Although it is not Maria who leads the proletariat down a path of ruin, Lang shows us that with only one symbolic leader, too much may go wrong. Lang, in particular, recognises how easily the ruling class can distort and discredit the entire working-class struggle if there is one unquestionable rescuer — an apparent repudiation of Leninism. The proletariat is shown by Lang as a massively strong force capable of transforming and influencing the future of a city. Despite their initial intent to destroy the city's infrastructure, the employees' surge capacity is obvious. Large sections of the city are dismantled, discarded, and destroyed. Workers have the autonomy and ability to enhance or wreak havoc on the locations and conditions in which they live as a cohesive, active group. Metropolis is a significant and brilliant film that speaks to the anxieties and ambitions of an oppressed and undervalued proletariat. Even if it frequently fails to present a coherent political message, the power of its insights into capitalism's social and economic structures is undeniable. (3) Dziga Vertov's experimental 1929 Soviet silent documentary film Man with a Movie Camera was directed by him, filmed by his brother Mikhail Kaufman, and edited by his wife Yelizaveta Svilova. Kaufman also plays the title character in the film. Vertov’s feature film, depicts late-twentieth-century urban life in Moscow and the Ukrainian cities of Kyiv and Odesa. There are no actors in it. From sunrise to dusk, Soviet inhabitants are depicted at work and play, engaging with modern-day machines. They are the title cameramen, the film editor, and the modern Soviet Union they discover and show in the film, to the extent that it can be called to have "characters." "The Man with a Movie Camera," under the Dziga Vertov, which translates to "spinning top," a title that fits perfectly in this picture. They took a lot of chances by putting the camera in areas it wasn't supposed to be. They show Kaufman climbing a towering chimney, standing on the doors of a convertible going down the street, on a motorcycle in a race while steering the motorcycle and hand cranking the camera, and much, much more. We see him shooting an ambulance in a fire truck, then the ambulance from his perspective, and it cuts back and forth from showing him filming and displaying what he's photographing. We see the theatre where this film is being screened, see it projected on the screen, see the audience viewing the film, and watch it with them. Man with a movie camera The documentary filmmaker's function as a worker, educator, and eyewitness in a proletariat society was intended as a visual argument. The film offers an impressionistic depiction of urban life from a strictly cinematic standpoint. Mikhail Kaufman portrayed the title character, lugging a small camera up the highest rooftops and smokestacks, as well as deep into factories and mines, to take incredible images. Many sections show Svilova editing the film, with some shots ending in a freeze frame and then drawing back to reveal her hand cutting and splicing the footage. Several segments show her selecting scenes for the film, followed by the scenes themselves. Many sections show Svilova editing the film, with some shots ending in a freeze frame and then drawing back to reveal her hand cutting and splicing the footage. Several segments show her selecting scenes for the film, followed by the scenes themselves. The trio employed a variety of techniques, including one-frame jump cuts, double exposures, freeze frames, extreme close-ups, extreme long lens shots, tracking shots, stop-motion animation, split screens, and more. The film was an astounding feat of brilliance by the trio, made all the more impressive by the fact that it was made in 1929. Even seasoned filmmakers, especially at our time, overuse such techniques to the point where the content of their films is pushed aside in favour of simple illusion. Dziga Vertov, on the other hand, created a skilful fit between technique and material, resulting in a film that has stood the test of time.
