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《持摄影机的人》经典观后感10篇

2017-10-19 21:57:01 来源:文章吧 阅读:载入中…

《持摄影机的人》经典观后感10篇

  《持摄影机的人》是一部由吉加·维尔托夫执导,Mikhail Kaufman主演的一部纪录片类型的电影,文章吧小编精心整理的一些观众的观后感,希望对大家能有帮助。

  《持摄影机的人》观后感(一):人生舞台的大幕随时都可能拉开,关键是你愿意表演,还是选择躲避。

电影眼睛派是二十年代初期的苏联,在以吉加·维尔托夫为领导的一批纪录电影工作者组成的电影理论和创作流派,其创作的影片虽然不多,但由于他们对电影蒙太奇手法作了最初的实验,并在理论上主张电影的纪录功能,而电影《持摄影机的人》便是该学派是在维尔托夫提出的“电影眼睛”的理论下进行创作的。 纪录片《持摄影机的人》整个影片都没有故事情节和主角。而她运用激昂的,节奏急促的音乐配上快镜头,把零碎的生活场景杂乱的拼接在了一起。并且特写和远景较多,着重记录人们的动作和表情,和整个城市的环境的转换。持摄影机的人在影片一开始便把镜头对准了普通的老百姓身上,反应他们的日常生活状态。整部影片都是以一部电影来展示摄影机如何纪录生活、摄影师如何进行拍摄和剪辑。在开片与结尾中都交代了电影院这个场景,观后感《《持摄影机的人》观后感》。其中穿插了很多摄影师调试摄影机的镜头,镜头都会出现一个眼睛,这正是导演想表到的观点——电影摄影机如同人的眼睛一样,它把所看到的大千世界转录于银幕但电影摄影机又远远胜逾人的眼睛,电影时空的灵活性使它不仅能纪录客观世界,同时还能通过复杂的剪辑手法描写和表现主观印象。因此,电影应该绝对摒弃虚假性,把镜头对准真实广阔的客观世界,出其不意地捕捉生活。所以在影片中我们常会看见持照相机的人扛着摄影机在大街小巷四处奔波的画面。这些尽头中有清洁工,公园,商店,火车,女人,沙滩,甚至是路人,它把最客观最真实的生活场景记录下来,并且不做修饰。印象深刻的是一段中,激昂快节奏的音乐突然转慢,镜头对准的是一张张照片,而在定格每个照片时,有会有动态的影像插入。利用人们理发,洗碗,磨刀的几组镜头运用蒙太奇的方式把摄影师调试摄影机的镜头巧妙的组接到了一起,把摄影师如何拍摄,剪辑以这种形式表达。在片尾,镜头中的城市被分割成两半,而放大的摄影师正在拍摄生活中的人们,导演运用重叠的影像,以虚拟的形式给人真实的感受,它表达了摄影师生活在我们的周围,就如同我们的眼睛,可以随时记录生活中的细节,但是很多人却没有发现摄影机的无处不在。另外一个镜头,是当摄影师镜头对准那些人时,他们又会不禁的遮住自己的脸,或者是立刻逃跑,就像人的眼睛,当你被一双眼睛不停的注视的时候,你会感觉不自在。 这部黑白默片的生活片段虽然感觉十分凌乱,没有故事情节,并且有许多两极镜头的运用。但她也是“电影眼睛”派的开创,但它开始运用了许多蒙太奇,有着不可忽视的地位。

  《持摄影机的人》观后感(二):这是我的眼睛还是电影的眼睛?

当维尔托夫举着摄像机在前苏联城市里穿行的时候,他一定明白也希望观众们思考:电影眼不仅仅是那个镜头眼,更是观众的眼睛。
电影开始的时候,观众陆陆续续的进场,在stop motion的暗示下,他们依照着社会秩序坐在电影银幕前,看着黑白的画面。一个简单的剪辑,我们跳进了银幕里的世界。我们看见了那时候的苏联,人们工作,运动,坐公车。在这个后工业化时代,人们不再需要从事农林畜牧喂饱自己。社会分工下,人们有时间和方式去做不同的事情。电影本身,也是工业化的产物。电影人,也开始用影像来纪录,来讲述其他的人生活。电影银幕上的这个世界,又真实发生在影院外面。电影银幕里的人看着过去的影像,而他们自身也被纪录下来,成为影像。
我们作为观众,坐在影院里透过的不是屏幕,而是摄像机的镜头,审视这个世界。电影剪辑中最常用的方式就是“镜头/反镜头”。我们很想看人物之间的关系,这种关系是靠人物之所见和人物之所感来构成的。在一个基本的“镜头/反镜头”里,我们首先看见人物所遭遇的景或人,然后在反镜头里看见人物的反应,或悲或喜或零度。坐在观众席里的你我,也开始在思考,如果是我,如果是遭遇这一切的我,到底会怎么去反应。维尔托夫把镜头对准镜头的时候,他就是想去看看当“镜头”看见这一切的时候,她会有怎样的反应?镜头里的眼睛眨呀眨。
大师阿巴斯基亚若斯塔米在他的实验电影“希林公主”里把镜头对准了那些在电影院里观众,她们看着黑幕做出那些表情。我们看过全部是第一视角(主观镜头)的电影,那么“希林公主”就是一部由“反镜头”构成的电影。电影就是镜头与反镜头,才能让我们与主角感同身受。每个观众也都应该有自己反镜头,因为我们不一定同情

  《持摄影机的人》观后感(三):沉默的城市交响:与《尤利西斯》第十章《踟躇之石》的比较

Silent City Symphonies: Wandering Rocks & Man with a Movie Camera
Wandering Rocks, Episode 10 of James Joyce’s novel Ulysses, depict distinct major and minor characters roaming Dublin streets, realistically illustrating Dublin itself while also slowly advancing the plot. (Joyce, 219-255) This episode is similar to city symphonies, a genre of early films portraying cities with minimal plot, the peak of which is the silent documentary Man with a Movie Camera by Dziga Vertov, who announced in the opening titles that it will ‘completely depart from the language of theatre and literature’ ‘without the help or a scenario… or characters’. Despite Vertov’s intention, Man with a Movie Camera shares traits with Wandering Rocks other than the genre, but they also have differences, some of which made by their distinct media.
Basic to both city symphonies is a montage structure, juxtaposing different scenes to make a whole picture. Joyce chose to divide the episode into chapters where each one is the stream of consciousness of character, narrated from third person subjective. In the stream there are all thoughts and objects of attention of the character, and the objective environment inevitably seep into the stream when the character sees, interacts with, or have an emotion toward it. A typical example is the passage in which Fr Conmee ‘smells incense on his right hand’, sees a church for ‘aged and virtuous females’, waves to them, and thinks that they can be bad-tempered. One part of Dublin - the incense-burning St Joseph’s Church and its sometimes hot-tempered attenders – is described so in this short passage. (Joyce, 221)
Furthermore, not only the objective environment is illustrated in those interactions, but also are the ‘narrating’ characters like Conmee of which the Dublin community is comprised portrayed. The stream of consciousness is powerful in the task by displaying characters’ thoughts thoroughly and faithfully. In another passage, Conmee passes a newsboard, learning about a ‘dreadful catastrophe’ that is later explained in civilians’ conversation to have killed thousands including women and children and almost wiped out German immigrants of New York. The catastrophe is hardly described or talked about in the stream of consciousness, revealing Conmee’s indifference to the lost lives, while the comment of it being ‘a perfect contrition’ for the ‘unfortunate’ people shows crazy religiousness. Thus a picture of the cold mad high priests of Dublin is drawn from an exemplary individual’s thoughts.
Man with A Movie Camera did not take a similar montage of individuals and their thoughts. Instead, it has a complex structure of narration, the first layer of which is a well-dressed audience watching a city symphony in a cinema, depicted from a third person objective perspective. It looks like a paradigmatic collective consciousness, showing few emotions or unique actions except the defining activity of a cinema audience: enter the cinema, sit, and watch. Thus more than showing how Russians entertained themselves watching films does it function as an abstract indication that the city symphony is watched, the purpose of whom will be explained by the second level of the narration. (Vertov)
The second layer of narration is the eponymous cameraperson, shown from a third person limited perspective when the audience sees what he sees but not of what he thinks. While he is an incarnation of Vertov’s idea that film cameras can be everywhere for a good depiction of reality, being on lofty buildings or in beer cups, he probably also serves as a representation of the objective, vigorous, and brave Soviet cinema risking to even stand on a speeding train for a good shot of real life, together with the ever-working editor. In other words, he is also a protagonist and a part of the Soviet cities depicted, and the film can be seen as his own stream of consciousness, but in a different way than that in which Conmee etc have their streams of consciousness in the apparent absence of inner thoughts. (Vertov)
Although thoughts and feelings are not expressed explicitly, the filming and editing techniques help convey them. For example, the fast cutting of short shots shows admiration at the hard efficient work at the factory, while a close-up on a smiling worker transporting sand may express equal happiness of the cameraman.
Notably, the audience of a film may commit emotionally more to it upon seeing familiar scenes, probably admiring and laughing with smiling and industrious workers, or feeling excitement when seeing them flowing out of a factory and into parks after working hours. The filming techniques are unique to films; even a poem can hardly achieve the same effect by short lines, repetition, or typographical tricks. As a novel, Wandering Rocks can only choose to write thoughts directly down, making them less instantly comprehensible and effective.
The last layer of the narration is the Soviet cities, the main protagonist of the film, similar to Dublin in Wandering Rocks. However, instead of focusing on different individuals, Man with a Movie Camera engages with the collective consciousness, in which characters, though of distinct classes and types, act similarly almost simultaneously in a same episode. Basically, from tramps, machines and manual labourers to white collar workers and artists, or even women giving birth, every part of the city sleeps in episode 1, starts up in Ep. 2, works in Ep.3, leave their duties in Ep.4, and enjoy themselves in Ep.5. (Vertov)
Although the audience does not know what any individual thinks, emotions are shown by montaging faces with similar expressions. A typical instance is the scene in Ep. 5 where happy faces appear between shots of performing athletes and children playing in an amusement park. (Vertov) Not only does the visual stimulation hit the audience directly than the novel Wandering Rocks does, as aforementioned, but the montage itself also has a profound effect. Just as film theorist pointed out, different scenes preceding a same calm face can make the audience feel automatically as if there are distinct expressions on the face corresponding to the scene and even sympathise with the face. (Kuleshov. 47-48) The montage in Man with a Movie Camera utilises this Kuleshov Effect to make the audience sympathise with the characters and immerse itself into the cities. That is something novels like Wandering Rocks can hardly imitate except by using in-text illustrations, but as books are hardly read with specific music while films are, Man with a Movie Camera would still win with its accompanying music played live.
Apart from the level of ‘visibility’ and ‘audibility’, the reason why the two works choose to depict the city differently goes beyond the ideological differences between the humanist Joyce thinking a city as a collection of its residents and the Marxist Vertov who regard cities as a growing organism comprised of its dwellers, buildings, and machines. Another main reason is the nature of consumption of the media of literature and films. Traditionally, books can be long and are usually read in discrete time periods over from a day to years. On the other hand, in the 1920s when TV was hardly invented and TV series was non-existent, most films were expected to be watched through continuous hours that do not surpass the attention limit of the audience who are usually humans. Therefore, the number of characters having their own streams of consciousness rather than simple emotions can only be one in this hour-long film, else it would be too long for the audience to focus on it. Thus is part of the depiction of a city – the complex thoughts and feelings of its components - lost in Man with a Movie Camera, but not in the novel Wandering Rocks.
Despite the city symphony genre and the overall montage, the two works share one further trait – the usage of motifs. The same street conjunctures and machines are shown in almost every episode of Man with a Movie Camera, beacons making the whole film cohesive and easy to navigate in. (Vertov) In contrast, Wandering Rocks’ motifs are multiple but recurring usually no more than twice, one of which is the aforementioned catastrophe read about by Conmee and discussed by civilians. They mostly serve as mere ‘beacons’ helping readers find their way in the somewhat chaotic collage, but some of them like the catastrophe shows general characteristics of Dubliners like indifference to foreign affairs, while others depict the recurring actions of the same character (like selfish Mr Dedalus) to illustrate his/her nature. (Joyce, 221, 237-239)
        Though Vertov tried to deviate norms of literature, he could not help making the documentary Man with a Movie Camera similar in montage and motif techniques to the other city symphony, the novel Wandering Rocks. However, the difference in medium in the way of consumption determines that the depiction techniques and their effects, albeit comparable, are distinct.
Works Cited
Joyce, James. ‘Wandering Rocks’. Ulysses. New York: Vintage Books, 1990. E-book. 219-255. 11 Aug. 2016.
Vertov, Dziga et al. Man with a Movie Camera. Vertov, Dziga, 1929. Web. 7 Aug. 2016.
< https://commons.wikimedia.org/wiki/File:Man_With_A_Movie_Camera_(Dziga_Vertov,_1929).webm >
Vertov, Dziga. On Kinopravda. ‘1924, and The Man with the Movie Camera. 1928’. Kino-Eye : The Writings of Dziga Vertov. Oakland: University of California Press, 1995. Print. 12 Aug 2016.
Kuleshov, Lev. Kuleshov on Film: Writings. Oakland: Berkeley: University of California Press, 1974. 47–48. Print. 12 Aug 2016.

  《持摄影机的人》观后感(四):我们是旁观者,我们又是剧中人

了解到一个很有意思的理论——
“电影眼睛”(Kino-eye)。
主张将电影摄像机比喻为“出其不意捕捉生活的眼睛“,即“我观察”+“我思考”的创作观念。吉加•维尔托夫在《持摄像机的人》中,对此理论做出了淋漓尽致的展现。
从电影开场请观众入座起,我们似乎就掉进了导演一早精心设计好的奇异陷阱。影片记录了一场前苏联人民生活的城市交响曲,摄像机充当了观众的视角,在对“电影眼睛”的精妙诠释下,我们几乎置身于20年代乌克兰的敖德萨市街头,亲眼目睹这座城市的黎明日落和光怪陆离。我们的眼睛或飞速扫荡、或缓慢定格,时而仿佛遭遇了一记重拳而天地翻转,穿梭在这个平凡真实的城市中感受最平凡真实的生活。
平凡真实到什么地步呢?作为“真实电影”艺术的推崇者,吉加•维尔托夫反对一切带有人为色彩和艺术加工的元素,全片没有演员、没有剧本、没有提前预设好的一切情绪,仅仅通过目不暇接的蒙太奇、画面分割、二次曝光等剪辑手法,将川流不息的车马、步履不停的人像以及真情流露般的城市律动带到我们的视野。当同一城市的不同角落同步上演了三个人生里程碑式的故事——婚礼、葬礼和生育,如此强烈的、震撼心灵的对比一笔一画出现在每个浮生一日,令人唏嘘不已。当热闹的集市沙龙、愉悦的游戏运动和拥挤的市井街巷随着节奏轻快的音乐映入眼眸,又得以迅速平复下来,这就是真真切切的生活和真真切切的我们啊。
值得一提的是,影片的摄像者——导演的兄弟——米凯尔•卡夫曼首创的“自我反射”形式将摄像者本身暴露在电影画面中,也在不经意间把我们带到“虚拟”与“现实”的交替地带中来回拉扯。在沉浸在摄影机之眼为我们勾画的篇幅中时,有些不合时宜的摄像机、和即将散场的影院如当头棒喝般将我们打回现实,原来我们所看的电影只是——观影者在看电影,而观影者所看的电影——正是我们所看的这部电影。恍然大悟,迷失在这场奇异的陷阱中,有点不甘,却也还不赖。
在持着摄影机的我的镜头里,你在颠簸的汽车后座里谈笑风生,无意中与我目光交汇,我是否也出现在持着摄像机的你的镜头里?
随着镜头跳跃在城市的日出日落、车来车往中,我们是旁观者,我们又是剧中人,我们看的是别人的人生,我们看的也是自己的人生。
这很妙。

  《持摄影机的人》观后感(五):电影眼睛论

1923年,苏联首创的电影理论、创作方法和审美体系,亦是苏联纪录电影的先锋流派。十月革命和维尔托夫在《电影周刊》的编辑工作经历,为电影眼睛派准备了成熟的意识形态条件。维尔托夫在1923年6月《列夫》第三期发表了宣言性文章《电影眼睛——人——革命》,提出“电影眼睛”就是“眼睛加电影家”、“我观察”加“我思考”的创作观念,主张电影摄影机是“出其不意地捕捉生活”的“眼睛”,反对叙事性电影,反对人为搬演,排斥演员、化装、布景、照明和摄影棚中的艺术加工,认为可以通过蒙太奇技巧重新组织自然形态的实拍镜头,从而在意识形态的高度上表现“客观世界的实质”,倡言电影必须成为“观察的大师——眼睛看到的生活的组织者”,强调选择重要的观察瞬间的必要性,主张按照联想原则和相应节奏组织素材,通过蒙太奇手法强化情绪感染力,引导观众达到明确的思想结论,通过影像和文字(政治口号字幕)的蒙太奇来解释事件的政治涵义。

维尔托夫以“电影眼睛论”为旗帜,组成了“电影眼睛派”摄制团体,拍摄了新闻简报式的《电影真理报》(1922—1924)以及《带电影摄影机的人》(1929)、《在世界六分之一的土地上》(1926)和《关于列宁的三支歌曲》(1934)等成功的影片,力求通过生活的真实素材歌颂新生的苏维埃社会。

于技术的限制,电影眼睛派未能彻底贯彻自己的理论主张,正如乔治·萨杜尔所说:“他们在拍摄过程中,遇到了一些难以逾越的障碍,尤其因为当时的摄影机粗大笨重难以操纵。”但是,电影眼睛派的理论与实践毕竟影响了后来的现实主义创作和美学流派囿,如让·维果、伊文思、格里尔逊、英国自由电影、新现实主义。60年代让·鲁什的法国的“真实电影”,以“电影眼睛派”为榜样,创作了反映社会现实的影片,“真实电影”一词就是“电影真理报”一词的法文直译。

有声电影的出现使维尔托夫能把他从1922年来倡导的“电影眼睛”和“无线电耳朵”结合起来,形成音画对位的蒙太奇。他虽拒绝表现个人英雄,在各种主题上却能把群众转化为个性化的英雄。但在《摇篮曲》一片(1937年摄制)以后,他的理论受到猛烈的攻击,以致到他故世之前只拍了几部作为任务的影片。

  《持摄影机的人》观后感(六):维尔托夫《持摄像机的人》镜头小观

电影的主题大概就是以摄影镜头代替人眼记录下所观之景。音乐的节奏在电影的段落划分中发挥了重要作用,几乎每一处节奏的变化都预示着场景和情绪的变化。
清晨部分
交响乐处节奏很快,沉睡部分节奏放缓,营造出清晨安静祥和之感,而清晨醒来投入白日生活节奏又开始加快,预示着生活的勃勃生机。有些镜头反复出现在电影中,比如穿白色衬衣的男人,宽阔的街道,街边张贴的海报,街边店铺,象征工业化生产的齿轮,缝纫机,街角的长条凳。使得电影前后连贯,具备时间的线性结构。
城市运转部分
对于白天里整座城市的忙碌的记录,节奏很快。而很快出于对生死的隐喻,出现了送葬的队伍,孩童新生的对比,音乐舒缓又抒情。“电影的眼睛”这一组镜头转换格外快,音乐的节奏也随之加快,变得紧张而激烈。描述士兵的受伤和抢救过程,作为电影眼睛的摄像头的镜头和作为人的眼睛的镜头穿插其中,这是这两种镜头出现得最多的部分。
下一段落,音乐变缓,主要记录各行业的人的一个日常工作状况。印刷,包装,缝纫机。至卷烟的流水线工作时,音乐加快,工业生产的活力显现出来。至煤矿工人处,音乐节奏感更强,呈现一个工作生产的小高潮。
摄影师摆弄摄像机和机器运作以及起重机吊重物镜头交织,随后出现摄影师在不同场合支起摄影机的镜头与周遭的景物镜头的交织,摄像头镜头穿插其中。
休闲和运动部分
换场至沙滩,多景别镜头应用。电影制作者广告和体育运动更替,节奏明快。接下来是航船和涂泥镜头的交织,音乐很为抒情。快节奏的记录体育比赛,如女子篮球和男子足球,赛车等。最后,观影镜头与街道场景的交织,依然把摄影师搬摄像机引入叙事,以镜头闭合结束整部影片。
至于我印象最深刻的镜头则是前半部分。
一是开头交响乐会这一段落,超级魔幻。自动打开的座椅,不同乐手演奏时出现的慢镜头或定格镜头,有一种时空失序的恍惚感。
二是百叶窗和窗外的林木的一组镜头,类似于快门闪动,刻画出一种曼妙光影之下,人所见美景的恍惚之感。
三是《经典记录维尔托夫》中提到的电影眼睛这一组镜头,快闪镜头极具动感,很前卫,很喜欢。王家卫的镜头表达似乎有像维尔托夫致敬。
其中最可爱的镜头大概是把摄影师放入片中吧。
整部电影叙事性较弱,猛一看来没有太多逻辑,但人眼观看世界的时候也只是影像的切换,不具备太多逻辑和深层次的关联。电影用镜头模拟人眼的观感,某种程度上是贴切,把所见记录下来,排除掉故意的戏剧性元素,强调所见即所得,强调真实感。其实电影里还是有很多不经意间的戏剧元素在的,电影院的首尾呼应就很棒。

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