Academia.eduAcademia.edu

Figure 19 – uploaded by Richard Bossons

See full PDFdownloadDownload figure
[00:35:43/44] 21cm lens — reflection of a camera being adjusted? A strange reflection as the camera seems to be on its side (what looks like the rear viewfinder can be seen hanging down when the frames are studied) and there isn’t any obvious cranking action. There is also a second off centre ghostly reflection of the lens rim (with projecting lugs) of the Debrie Interview. The background to the lens looks like the Parvo Model L. However, this could not be a shot taken with the reflected Interview camera on its side as the lens is the right way up (Tessar is always at the top). Nothing about this shot makes much sense and there aren’t enough frames (21) for a more detailed study. The original shot [00:33:48] showing the 21cm telephoto lens (the correct way round) rising up at the beginning of reel 4 must have been taken with the camera that is reflected in the ens, and not into a mirror. As this looks like the Parvo Model L with the iris attachment what camera is being filmed? As the 21cm lens has the special Model L mount which would not fit the other camera used in 1928 (the Debrie Interview) was there a second Model L Parvo used for the filming? There appears to be a camera body in the background. See my paper ‘Man with a Movie Camera: the movie cameras’ for information about the different cameras used in the film. The same lens goes down to signify the end of Reel 4 but this has been deliberately reversed in the editing.

Figure 19 [00:35:43/44] 21cm lens — reflection of a camera being adjusted? A strange reflection as the camera seems to be on its side (what looks like the rear viewfinder can be seen hanging down when the frames are studied) and there isn’t any obvious cranking action. There is also a second off centre ghostly reflection of the lens rim (with projecting lugs) of the Debrie Interview. The background to the lens looks like the Parvo Model L. However, this could not be a shot taken with the reflected Interview camera on its side as the lens is the right way up (Tessar is always at the top). Nothing about this shot makes much sense and there aren’t enough frames (21) for a more detailed study. The original shot [00:33:48] showing the 21cm telephoto lens (the correct way round) rising up at the beginning of reel 4 must have been taken with the camera that is reflected in the ens, and not into a mirror. As this looks like the Parvo Model L with the iris attachment what camera is being filmed? As the 21cm lens has the special Model L mount which would not fit the other camera used in 1928 (the Debrie Interview) was there a second Model L Parvo used for the filming? There appears to be a camera body in the background. See my paper ‘Man with a Movie Camera: the movie cameras’ for information about the different cameras used in the film. The same lens goes down to signify the end of Reel 4 but this has been deliberately reversed in the editing.

Related Figures (53)

5. MAN WITH A MOVIE CAMERA: reflections
5. MAN WITH A MOVIE CAMERA: reflections
01:07:44] The last frames of the film, the ‘Film-Eye’ closing. The Kinoks’ symbolic device (KNHO- rna3, Kino-glaz?) was invented by Mikhail Kaufman in the early 1920s using his colleague Boris udinov’s eye [source: ‘Ukrainian Dilogy’, S. Bytiutskyi, Oleksandr Dovzhenko Centre, Kyiv, 2018, p. 12]. Note the reversed lettering on the lens. This is the same set-up as seen in 00:11:34] & [00:11:46] with the iris attachment, and was most likely filmed into a mirror (see below). “The manufacturer’s logo is an eagle on top of a globe with a length of film in its beak. ‘Parvo’ is the name of the camera model (Latin for ‘small’ as the camera is very compact because of the internal film magazines).
01:07:44] The last frames of the film, the ‘Film-Eye’ closing. The Kinoks’ symbolic device (KNHO- rna3, Kino-glaz?) was invented by Mikhail Kaufman in the early 1920s using his colleague Boris udinov’s eye [source: ‘Ukrainian Dilogy’, S. Bytiutskyi, Oleksandr Dovzhenko Centre, Kyiv, 2018, p. 12]. Note the reversed lettering on the lens. This is the same set-up as seen in 00:11:34] & [00:11:46] with the iris attachment, and was most likely filmed into a mirror (see below). “The manufacturer’s logo is an eagle on top of a globe with a length of film in its beak. ‘Parvo’ is the name of the camera model (Latin for ‘small’ as the camera is very compact because of the internal film magazines).
[00:02:22] Opening sequence (the ‘miniature’ camera on top is also in reverse). Illustrated above.
[00:02:22] Opening sequence (the ‘miniature’ camera on top is also in reverse). Illustrated above.
[00:11:23] [00:11:27] [00:11:30] Front view of the camera being cranked (young tram| sequence). The handle should be on the left of the lens, this is the viewfinder side.
[00:11:23] [00:11:27] [00:11:30] Front view of the camera being cranked (young tram| sequence). The handle should be on the left of the lens, this is the viewfinder side.
[00:34:58] Side view of the camera being cranked.
[00:34:58] Side view of the camera being cranked.
[00:11:34] & [00:11:46] 21cm lens with camera reflection. This looks as though it was filmed into a mirror as the iris attachment in the image also appears to be on the reflected camera. This is the same iris as seen in the well-known Eleazar Langman photograph of Kaufman and the Debrie Parvo Model L camera below. Note the adjustment lever with the thickened end at the top left present in many of the reflected images of the camera. This set-up was also used for the ‘Film-Eye’ at the end of the film when the iris closes (compare the scratch marks on the rh lower perimeter). All of the shots of the cranking side of the camera are flopped as above. The handle should be on the other side. Presumably the reversal was to have the cranking action match the directior of the machinery in the latter three shots.
[00:11:34] & [00:11:46] 21cm lens with camera reflection. This looks as though it was filmed into a mirror as the iris attachment in the image also appears to be on the reflected camera. This is the same iris as seen in the well-known Eleazar Langman photograph of Kaufman and the Debrie Parvo Model L camera below. Note the adjustment lever with the thickened end at the top left present in many of the reflected images of the camera. This set-up was also used for the ‘Film-Eye’ at the end of the film when the iris closes (compare the scratch marks on the rh lower perimeter). All of the shots of the cranking side of the camera are flopped as above. The handle should be on the other side. Presumably the reversal was to have the cranking action match the directior of the machinery in the latter three shots.
The iris is seen on the Model L camera during the animation sequence [01:00:38 on]. It is interesting to speculate about how this set-up was achieved. If the iris attachment was used with a standard or wide-angle lens it could be fixed directly to the front of the camera. However, as the telephoto lens would have extended past the iris preventing it from working it is likely that a bellows lens hood would have been used to allow the iris to be fixed in front of the long lens. It looks as though the standard lens hood has been removed. The Model L catalogue shows both of these accessories.
The iris is seen on the Model L camera during the animation sequence [01:00:38 on]. It is interesting to speculate about how this set-up was achieved. If the iris attachment was used with a standard or wide-angle lens it could be fixed directly to the front of the camera. However, as the telephoto lens would have extended past the iris preventing it from working it is likely that a bellows lens hood would have been used to allow the iris to be fixed in front of the long lens. It looks as though the standard lens hood has been removed. The Model L catalogue shows both of these accessories.
[00:12:39] & [00:12:42] 15cm lens with another iris attachment®. These do not show a camera reflection in the lens but what looks like foliage, indicating that the shots could have been taken with another camera and telephoto lens from a distance rather than into a mirror, and then flopped in the editing for some reason. There is some unclear movement reflected in the lens which may be a cranking action.
[00:12:39] & [00:12:42] 15cm lens with another iris attachment®. These do not show a camera reflection in the lens but what looks like foliage, indicating that the shots could have been taken with another camera and telephoto lens from a distance rather than into a mirror, and then flopped in the editing for some reason. There is some unclear movement reflected in the lens which may be a cranking action.
[00:12:59] & [00:13:04] Last frames of Reel 1 & first frames of Reel 2. 15cm telephoto lens with iris opening and closing (and ‘foliage’ reflection). The same details as above. The iris is used unconventionally to signify the reel change by filming it from the outside rather than through the lens!
[00:12:59] & [00:13:04] Last frames of Reel 1 & first frames of Reel 2. 15cm telephoto lens with iris opening and closing (and ‘foliage’ reflection). The same details as above. The iris is used unconventionally to signify the reel change by filming it from the outside rather than through the lens!
®This iris may be an earlier type, most likely used on the Debrie Interview camera. It is not shown in the Model L catalogue. Note the ‘Etablissements André Debrie Paris’ engraving (in reverse) around the perimeter. A bellows lens hood would also have been used with the iris for these shots, as seen in screenshot [00:29:17] below on the Debrie Interview.
®This iris may be an earlier type, most likely used on the Debrie Interview camera. It is not shown in the Model L catalogue. Note the ‘Etablissements André Debrie Paris’ engraving (in reverse) around the perimeter. A bellows lens hood would also have been used with the iris for these shots, as seen in screenshot [00:29:17] below on the Debrie Interview.
[00:14:34] [00:14:37] 21cm lens (reflection of camera being cranked, with superimposed Film- Eye). The camera reflection and background look very similar to [00:32:22 etc]. The reflected camera has the iris not seen around the lens and so it seems likely that this took the shot which was flopped in the editing.
[00:14:34] [00:14:37] 21cm lens (reflection of camera being cranked, with superimposed Film- Eye). The camera reflection and background look very similar to [00:32:22 etc]. The reflected camera has the iris not seen around the lens and so it seems likely that this took the shot which was flopped in the editing.
[00:33:48] Start of Reel 4 — 21cm lens rising up with reflection of camera being cranked (the only non-reflected image of a lens in the film, but the same appearance as [00:43:27] at the end of this reel). Again, the reflected camera has the iris that is not present in the shot of the lens. If reversing the lenses was meant to make the lettering unreadable it isn’t clear why this solitary one was left the right way round.
[00:33:48] Start of Reel 4 — 21cm lens rising up with reflection of camera being cranked (the only non-reflected image of a lens in the film, but the same appearance as [00:43:27] at the end of this reel). Again, the reflected camera has the iris that is not present in the shot of the lens. If reversing the lenses was meant to make the lettering unreadable it isn’t clear why this solitary one was left the right way round.
[00:43:27] End of Reel 4— 21cm lens going down, as [00:33:48] but flopped in the editing (ar slightly out of focus — ref. Christopher Bird’s comment above). Same reflection of the camer reversed.
[00:43:27] End of Reel 4— 21cm lens going down, as [00:33:48] but flopped in the editing (ar slightly out of focus — ref. Christopher Bird’s comment above). Same reflection of the camer reversed.
[00:35:03] Filming into a mirrored stand or booth (Paris Specialist [shoe?] Cleaner). No reversed but the only reflected shot of the camera definitely filmed into a mirror!
[00:35:03] Filming into a mirrored stand or booth (Paris Specialist [shoe?] Cleaner). No reversed but the only reflected shot of the camera definitely filmed into a mirror!
)1:07:44] The ‘Film-Eye’ closing, the final image of the film, also illustrated at the beginning f the paper. The same view of the 21cm lens with the iris attachment in [00:11:34] & )0:11:46] with the eye superimposed.
)1:07:44] The ‘Film-Eye’ closing, the final image of the film, also illustrated at the beginning f the paper. The same view of the 21cm lens with the iris attachment in [00:11:34] & )0:11:46] with the eye superimposed.
(01:05:23 on] During the fast montage sequence at the end of the film a carriage is seen in Odesa with one male and two female passengers, one holding flowers. This is shown going in one direction on the Shantser Cinema screen and in the opposite direction thereafter.
(01:05:23 on] During the fast montage sequence at the end of the film a carriage is seen in Odesa with one male and two female passengers, one holding flowers. This is shown going in one direction on the Shantser Cinema screen and in the opposite direction thereafter.
Most of the carousel sequence [00:54:23 on] is in reverse as you can tell by the camera — the viewfinder is on the wrong side (corrected image below). This may have been an editorial decision to show the carousel circulating in the opposite direction (clockwise) to the motorcycles going around the track (anti-clockwise). A few of the carousel shots are the right way around so this contrast is not consistent.
Most of the carousel sequence [00:54:23 on] is in reverse as you can tell by the camera — the viewfinder is on the wrong side (corrected image below). This may have been an editorial decision to show the carousel circulating in the opposite direction (clockwise) to the motorcycles going around the track (anti-clockwise). A few of the carousel shots are the right way around so this contrast is not consistent.
There is a long shot of reflections of Strastnaya Square in Moscow from what appears to be a moving glass panel (the camera and cameraman are visible in the screenshot above). Professor Petri¢ has a lengthy analysis in his book (p. 88) of this sequence, suggesting it represents the triumph of Vertov’s ‘Film-Truth’ principles (the reflected views of the outside ‘real’ world) over entertainment cinema (the first frames showing the film poster of ‘The Awakening of a Woman’, a 1927 German comedy film). See Notes.
There is a long shot of reflections of Strastnaya Square in Moscow from what appears to be a moving glass panel (the camera and cameraman are visible in the screenshot above). Professor Petri¢ has a lengthy analysis in his book (p. 88) of this sequence, suggesting it represents the triumph of Vertov’s ‘Film-Truth’ principles (the reflected views of the outside ‘real’ world) over entertainment cinema (the first frames showing the film poster of ‘The Awakening of a Woman’, a 1927 German comedy film). See Notes.
[00:14:50] Reflections in the Mostorg department store front (Theatre Square, Moscow).
[00:14:50] Reflections in the Mostorg department store front (Theatre Square, Moscow).
Related topics:
Theories of Film EditingDziga VertovMan with a movie cameraHistory of Film EditingMirror Reversal
580 California St., Suite 400
San Francisco, CA, 94104
© 2025 Academia. All rights reserved