"CAUGHT ON CAMERA" SRIJANI FRANCIS SARKAR: FILM LANGUAGE : CET 2

    Deleuze on 'Movement' and 'Camera' 

Video link: 

https://drive.google.com/file/d/1U03co5BhDIQdTvum5gQ4E9T7F_qBGokC/view?usp=drive_link

Deleuze, in his philosophical works, particularly those exploring cinema delves deeper into how the camera can capture and manipulate movement. He distinguishes between two primary types of movement.

1. Movement-Image: This refers to the actual movement within the filmed scene—the beggar girl, the vendor, the vehicles, and the pedestrians.

2. Movement-Image of the Camera: This encompasses the camera's movement like panning, tilting, tracking etc- which influences how the viewer perceives the scene and its movement.

 ANALYSING THE VIDEO:

Long Take and Shutter Speed:

The three-minute-long take creates a sense of durational time, allowing the viewer to immerse themselves in the scene and observe the unfolding events.

The 1/8 Shutter Speed introduces motion blur, particularly in moving vehicles and pedestrians. This blurs the distinction between the foreground and the background, creating an atmosphere of dynamism and emphasising the flow of movement within the scene.

 Monochromatic Contrast:

The use of monochromatic contrast, while potentially simplifying the visual information, can also heighten the impact of the movement. By reducing the visual complexity, it directs the viewer's attention to the interplay of light and shadow and how these shifts affect the perception of movement.

Space and Movement: 

Deleuze emphasizes how space is not a static backdrop but an active participant in the unfolding of movement. In this video, the street, with its moving vehicles and pedestrians, becomes a dynamic space that shapes the girl's movements and the overall flow of the scene. The camera through its long take captures the interplay between the girl's movements which aren't isolated as it is intertwined with the rhythm of the street, creating a sense of interconnectedness. 


 


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