The inherent paradoxical nature of “The Man with the Movie Camera” is that even though you are looking at images flashed at such a fast pace, instead of the effect being jarring it serves to draw you into the film. The fast paced, harsh tone of the score combined with the rate the images are cut at works to engage the audience when the scenes are moving quickly as opposed to knocking them out of the first hand experience of watching the city’s inhabitants. Even though the pace changes occasionally, it is consistent and deliberate. The effect of the combination of the speed of both the sound and image places the viewer into an almost trance-like state so that the information the images are displaying can hit them harder. The point of “The Man with the Movie Camera” seems to be the every day life of a normal Russian city, but when it’s stylized as in this film the images take on a beauty and life of their own. “The Man with the Movie Camera” seems to be as much an ode to the magic of film editing as the city we are shown. In Walter Murch’s metaphor every cut is a blink, but in this film we don’t mind the effect.
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