Metropolis

This epic film has introduced many innovative narrative and dramatic techniques, not previously seen in any other film studies thus far. The first is that of emphasis. Previously it has been hard to ascertain the tone of characters when cutting away to words, however Metropolis is the first film I’ve seen to use varying typography styles and capital letters, such as the “ME!” that was cut away to in one scene. It is much more effective in conveying the character’s sense of tone. It also underlines various words for emphasis.
Fade transformations are experimented with in the film and in the case of the factory turning into the pyramid, is very effective. However the later fade of the cyborg turning into Maria is nowhere near as convincing.
Metropolis also introduces what is known today as the ‘Cookie Cutter.’ That being the various scenes where little pieces of film are cut, the edges given a nice feathering fade and juxtaposed with other pieces e.g. the scenes of all the eyes and faces.
Rear projection makes an appearance as it was brilliantly used to make a fake computer screen for the characters to look at and interact with.
This incredibly layered film has three distinctly different settings, being paradise at the Babel Tower, the machine world of the workers and the dark ancient catacombs down below.
Most scenes on the factory floor give off a very theatrical musical vibe as the workers are dressed the same and moving in sync with each other and you almost expect a song to break out, forgetting that it is a silent film. The sets were also incredibly theatrical, clearly built to provide the audience with a sense of spectacle, rather than realism.
I only have few criticisms about little things such as continuity. The scene directly after the flood, characters are not wet. The cyber woman’s movements were far too natural. In some scenes there are long stretches of dialogue without cutting to words on screen at all and that makes it difficult to understand the story.
All in all Metropolis is an epic and enjoyable story, that in the right hands could likely be turned into a spectacular remake for the modern audience. While it would never have the same feel as the original, I believe it is a story that should be passed down and continued through the generations as they find their own meaning in the story via their film techniques.

Advertisements

March 22, 2009. Uncategorized. Leave a comment.

Lumiere, Porter and Melies

Lumiere

The realist actualities of Lumiere provided a short, one angle insight into a different part of the world. They were nothing more than a camera (or kinetoscope back then) set up for a few seconds with little action happening. The significance of this is quite clear though. These were some of the first moving pictures in existence and a couple of seconds of people walking out of a factory would have been truly astonishing back then. If it were to be likened to contemporary times it would probably be like us seeing 3D hologram technology, which would create an entirely new medium to work with. Some of Lumiere’s other titles include ‘Woman Throwing Baseball’ and ‘Arrival of the Train.’ This was technology that would change our world, however not through “Actualities.”

Melies

Melies the magician would be one of the first to play with this new filmic technology to create an expressionist story. Widely considered to be the first science fiction film made, ‘Trip to the Moon’ (1902) is exactly what the title implies. It begins with a parody of astronomers dressed as wizards, who make plans to go to the moon. It is an amazing piece when you consider that it all would have had to have been privately funded. There are wonderful sets (flats, forest areas), set pieces (specifically the big ship), very nicely done costume and props (the league of astronomers and the animal-like moon dwellers). However camera angles are virtually the same in every scene, making it feel almost like you were sitting in the audience of a theatre show.

Porter

‘The Great Train Robbery’ (1903) presents a well structured narrative through the potentially pioneered use of jump cuts. That is, the story isn’t exactly linear, for example the scene where the bandits get off the train is followed by them running through the forest with no need to show what happened in between. It also cuts to what is happening elsewhere at the time, e.g. while the bandits are running through the forest we see the police at a ball. There is an attempt at colouring various parts, such as a woman’s dress at the ball, however it simply doesn’t look right as the sole colour apart from bits of purple on the roof. While I acknowledge it must have been a tedious process to colour it, they should either do the whole scene or not at all, as I think the colour actually distracts from the action occurring. There were some experimental camera angles used and some panning that made it feel more cinematic, as opposed to ‘Trip to the Moon’ where the use of only one single camera angle made it feel quite theatrical.

March 4, 2009. In class, Uncategorized. Leave a comment.