Development of Editing Technology

The purpose of editing, is to allow viewers to experience a smooth sequence of scenes, which collectively become a compilation of shots that make sense and develop emotional impact.

Primary forms of editing were very basic and entailed the editor physically cutting and glueing parts of the film. They would do this, by holding the film up to a light source and identifying the correct/desired frame to cut or join. This was a tedious and time consuming method of working, however formed the foundation of editing techniques.

The Moviola was introduced in 1924, as a pioneering piece of editing technology. It became a much easier and more precise method of editing film. It also brought about 'edge numbering', allowing audio and visual to be edited in synchronisation.

Flatbed Edit Suites -
Steenbeck is renowned for a rich history of manufacturing film editing, viewing and controlling tables since the early 50's. During 1953 the first Steenbeck flatbed 16mm 4 plate the ST200 was born. This editor included optical sound and playback of 16mm perforated magnetic tape and was seen as new media at that time. The predominant editing methods were still very practical and require the use of trim bins, guillotine splicers and the use of a light table.

Soon the ST100 followed, a 4 plate 35mm editor in 1954. Following this, the first editor with back projection on a ground glass was the 35mm ST400 followed by the ST500 switchable for standard and Cinemascope.

Live television editing became the pioneering form of editing, which began in the early-mid 40's. This led to kinescope recordings, which consisted of a camera recording a video screen of a live broadcast. This was not a very successful method and led to such issues as ghosting and banding, nonetheless tv studios were using more raw film stock in their kinescopes, than most Hollywood film studios combined.

In the early 50's, engineers working for Bing Crosby's production company, pioneered in recording video images onto magnetic tape. In 1956, Ampex released the first 2" quadruplex video tape. Editing this, was a similar process to that of editing film. Initially the tape had to be developed, using extremely fine iron filings suspended in a toxic, carcinogenic carbon tetrachloride solution. This was done so that the magnetic bands on the video tape visible when viewed through a microscope, so that it could be aligned in a specialised splicer and cut precisely. Video and audio read heads were several inches apart in the machine, therefore it was not possible to make a physical cut that would function correctly for both video and audio. As a result, a cut was made for the video and a portion of the audio was then re-copied into the correct part. 

To get from one place to another on a tape you have to shuttle past everything in-between. One could argue that you spend more time waiting for tapes to cue with a linear system than you do making edits. In addition, Linear editors are not particularly flexible and it is difficult to build up separate sequences, especially if you need to go back and alter them. The only way to change a previously made edit is to perform a new edit "on top of" the old one. If the scene you want to add happens to run longer than the scene you're replacing, you'll cover up a bit of the next scene on the tape. If it's shorter, you'll have a bit of the old shot still in the program.

Non-linear and Digital Editing - 

Non-linear editing is a non-destructive process and a much more natural way of editing. It requires two predominant functions; computer power and data storage. 

There is no question that nonlinear editing and digital technology will have positive effects on the editing process and on the outcome of that process, the screen story. In technical terms, time is money, and the speed of nonlinear systems should have a positive impact on postproduction budgets. So too will the capacity for the editor to build up his own tracks and mix them down on his nonlinear systems. 

The capacity to work in a more complex way with sound and picture can only help the postproduction process and budget. Digital technology also helps in the creation of special effects. The famous shots of Gary Sinise legless in the second half of Forrest Gump (1994) were produced in a digitized set of images reconstituted frame by frame to eliminate his legs from each frame. Equally possible today is the removal of any portion, small or large, of the image. This same technology can be used in film or sound restoration as well. (Dancyger, 2011)

The CMX 600, introduced in 1971 and only 6 were ever produced. They paved the way for non-linear editing. The EMC 2 and the Avid 1 followed, which was a macintosh based non-linear editor (1989), it became the gold standard of editing in Hollywood. Although technology had progressively advanced, storage was still an issue. In 1993, Avid increased the amount of storage available, debuting a 7 terabyte system. Editor Walter Murch won an oscar for best editing in 1997, for The English Patient, which he edited using an Avid. 

Digital Editing - 

Digital has many pros over analogue, for example; it is easy to copy, is resistant to noise, not subject to generation loss and is much easier to sync.

In 1990, New Tek released the first 'Video Toaster' on the Omega system. Although it had limited linear editing capabilities, it brought video production to small television studios, production shops and schools. It was loaded with various effects and even a 3D package, called light weight 3D and proved that there was a market for small scale media production.
1995, saw the introduction of dvd optical disks, using a new type of compression referred to as MPEG-2. 

The first US public HD broadcast occurred in 1996, which was around the same time in which Hollywood studios began using digital intermediary to create special effects. The process entails sending 35mill film through a telecine, which scans the film and creates a digital file, that can then be manipulated in a computer using special effects and compositing. Once this is complete, the optical printer would ten place the video images back onto film.

1992, visual fx superviser Chris Woods, overcame many technological difficulties with telecine and created the visual effects of 1993's Super Mario Bros. 

Chris Watts then revolutionised the DI process with Pleasantville (1998). The film holds the record for most visual effects shots in a single film.

The very first motion picture to be shot purely on digital, was Star Wars: Ep II, in 2002. In the late 2000's, it became possible to shoot purely on digital and edit online, using the original full quality files.

Reference List:
Brown, B. (2012) Cinematography - Theory and Practice. 2nd Edition. Oxford: Focal Press.

Dancyger, K. (2011) The Technique of Film and Video Editing. Oxford: Focal Press.

CHRISTOPHER, B. THOMPSON, R. (2009) Grammar of the Edit. 2nd Edition. Oxford: Focal Press.

Herman, J. (2012) A Brief History of Film Editing Technology. Editors Guild Magazine. [Online] Volume 1 (Part 3) Available From: https://www.editorsguild.com/magazine.cfm?ArticleID=1104 [Accessed: 24th September 2015].

Loehr, M. (1995) Edit Points: Linear vs Non-Linear Editing. Article [Online]. November issue. Available from: http://www.videomaker.com/article/c3/1214-edit-points-linear-vs-nonlinear-editing

http://filmmakeriq.com/lessons/the-evolution-modern-non-linear-editing-part-1-from-tape-to-digital/

http://filmmakeriq.com/2014/01/the-history-of-cutting-the-birth-of-cinema-and-continuity-editing/

Music Video - Preparation

In preparation for Music Video Production unit, I decided to photograph a live gig, in order to explore the technical aspect of capturing a live band and then apply this to the terms of moving image.

As I was capturing a live environment, it was paramount that I achieved the correct exposure. In order to do this I initially planned what additional equipment I would need. Considering the dark setting of most music venues, I decided that a telephoto or mid-range zoom lens would grant me the ability to shoot at a wide aperture, in order to allow more light into the images. This was vital, as a relatively fast shutter speed would be required to capture the movement of the band.

I shot on the continuous mode, as this allowed me to capture a variety of frames ensuring that I was able to keep up with the pace of each subject and also meant it was less likely that I missed a good shot.

In addition to this, I shot on auto focus mode, once again this made certain that I had a good selection of shots and did not loose a good image, as a result of it being out of focus. I also did this, as the shallow depth of field meant that there was more in the shot that was out of focus and each subject would not remain stationary for very long, therefore shooting on manual focus would have proved difficult in trying to capture the main focus with accuracy. I also kept the ISO setting relatively high as this compensated for the loss of light as a result of a fast shutter speed.

Freud

Structure of The Personality 

Freud's iconic work on the subject of abnormality was recognised as pioneering, particularly his model of the human personality. He suggested that the human psyche is constructed of three interacting elements;

The id:

The reservoir of unconscious and instinctual psychic energy that we are born with. The most integral aspect being the psychic energy's libido, or life instincts, however this energy may also direct itself into aggression. 

The id operates upon basic principles of pleasure, constantly attempting to gratify the these instincts through pleasurable activity. 

The Ego: 

Represents our conscious self and develops during early childhood, regulating interactions with our immediate environment. The ego is also responsible for trying to balance the demands of the id for self-gratification with the moral rules imposed by the superego of conscience. 

The ego operates upon the reality principle, in that it constantly balances the demands of the real world against the instinctive drives of the id.

The Superego:

The personal moral authority, or conscience, developing later in childhood through identification with one or other parent. At this point, the child internalises the moral rules and social norms of society. 

References:

Green, S. McGinley, R. Willerton, J. Wilson, J. Bailey, J. (2008) AQA AS Psychology. Cheltenham. Nelson Thornes. 

Lacan

The Mirror Stage

Lacan and The Mirror Stage (1966)

We often see that infants observe themselves in the mirror and believe that the image they see is superior in comparison to them. The baby fails to identify as the image they see, hence they set this mirage as a worshiping icon and will strive to correspond to this vision of themselves.

In the same way, women often elicit the same behaviour in cinema; the 'ideal' depiction that they see on screen is a representation of a superior being which they wish to transform themselves into.
This internalisation of ideals, results in a hyper awareness of ones self as an object to be watched. Hence people often develop body dysmorphia, which ultimately supports Laura Mulvey's concept that we have been exposed to a very patriarchal kind of cinema. 

New Wave - Film Evaluation

Evaluation and Health & Safety

My new wave sequence was constructed of an array of shots that I had captured in various locations, structured in the form of a montage. By doing this, I have given the viewer the ability to derive meaning from the film based on their own interpretation. I felt that this was a key theme surrounding a majority of the New Wave texts that I had looked at for my contextual study. In terms of concept, this style provides a loose narrative which makes the film easy to follow, but not too conventionally organised.  

When conducting on location shoots, I was sure to consider the practical elements of health and safety. I ensured that all of my equipment was correctly put away when not in use and whilst shooting, I had to be sure that both myself and my apparatus were not obstructions which could lead to potential physical harm for pedestrians or those around me.

When assembling the footage together, I wanted to make sure that the rough trademark of new wave editing was made apparent, therefore I was not too careful in selecting where to cut the shots. With long takes, I transformed them into a series of jump cuts, adding a sense of discontinuity.

Similarly, I was sure to keep a consistent flow throughout the sequence, by maintaining the choppy editing style. I also incorporated elements that were featured in the New Wave, such as having the subject look directly at the camera, ultimately breaking the fourth wall and acting as a reminder to the audience that they are simply watching a film. This was commonly demonstrated in French new wave films, shedding new light onto the world of cinema and transforming film making from the conventions of classic, large scale productions.

I also experimented with the use of colour, taking inspiration from Daisies (1966) and the creative use of filters used within the iconic nightclub scene. Shifting between exotic hues adds a sense of the unconventional as well as enhancing the surreal essence of the film. In addition to this, colour has the potential to influence the audiences feelings towards what they view on screen, as each shade holds personal connotations, hence every viewer may develop varying interpretations.

'Daisies' (1966)

However, I did not want to make the effect so drastic within my own film, so I altered the colour levels slightly, just enough to add a slight tint to each shot. I did so with purpose, although the effect was predominantly done for aesthetic purposes, I ensured that the colour complimented the tone of the shot, in order to enhance the focus of it. For example, for a location shot of a secluded area of Digbeth, I added a cold filter, to represent the solitude felt when present there.

 Overall, I found that I was able to manage my time effectively; by documenting my planning for each shoot, I was able to express the developments in my ideas and then elicit them in a practical sense. Such as altering the fundamental concept so that it was not too heavily based around a narrative, as this would not have been true to the nature of new wave. Most new wave productions emitted a sense of spontaneity in terms of their content and I wanted to be as authentic as possible when making my film, hence created a montage of scenes which were loosely connected, so that the viewer is able to derive their own interpretation of events.

 As a result, I was able to produce a new wave montage sequence that combined various elements displayed by the movement. I felt that this project particularly allowed me to explore and strengthen my editing skills, as there was a vast amount of footage to sift through and implement into a sequence. In addition, the fact that I edited to audio and a poem also stretched my ability to edit in time.  

New Wave Film

New Wave - Video Planning

Shooting Plan 3

In terms of editing, I have decided to cut my footage in time to the poem 'Ode' by Arthur O'Shaughnessy, as a majority of what I have already shot corresponds lyrically and conceptually with the poem. By doing this, the creatively surreal element will be significantly enhanced, creating a vivid depiction of events, from which the viewer is be able to draw their very own interpretation.

When conducting the research for my contextual study, I analysed a selection of films from the Czech new wave movement. From doing this, I found that although each text had a different director and concept, the underlying similarity stood out in a visual sense; surrealism was the common undertone.

With this in mind, I plan to conduct my third shoot in Birmingham and Digbeth. Within this shoot, I will not be focusing so much on the subject, instead I will be filming the location itself and any objects that I find are relevant to the context of the poem. Combining this footage with what I have already shot of the subject will provide a good array of scenes to create the surreal ambience that I wish to achieve.

In regards to health and safety elements, I must ensure that my equipment is correctly packed away when not in use and that I am mindful of pedestrians, as I do not want me or my apparatus becoming objects of obstruction which could lead to potential harm. 

New Wave - Video Planning

Shooting Plan 2

By altering my concept slightly, so that the film is not too heavily structured upon the foundation of a narrative, I have decided to compose my film in the style of a montage. Therefore, for this shoot I planned to collect shots of the subject that I could use in a surreal style montage. I intended to capture in the style of new wave, hence making use of natural light/sound, filming long takes that could be edited as a series of jump cuts and all shot using a handheld camera, as seen in Godard's "Breathless'.



This shoot took place within Manchester as I had planned to capture a selection of settings to feature the subject in. As the film I am creating is a montage and an expression of creativity, I visited galleries, having the subject look at the art itself, suggesting that as they begin exploring a pleasantly aesthetic world, they are inducing their own creative energy.

In addition to this, I captured the subject around the city of Manchester itself, this not only allowed me to capture the setting, it also provided me with the opportunity to utilise natural lighting and make explicit use of handheld camera. Which worked, in both an aesthetic term and a conceptual one.

New Wave - Film Brief 2

By conducting shoots, I found that the initial concept for my new wave sequence was based too heavily around a structured narrative. Hence, I have decided to adapt my work so that it is more visually surreal, yet explicitly illustrates all the recognisable features of the new wave.

In order to achieve this, I intend to collate my footage into a form of montage, something that was done prominently within a variety of new wave films. Using jump cuts and other discontinuity techniques, which will provide the distinctive and somewhat imaginative flavour of such alternative film making. In doing so, I do not want the film to become confusing and difficult to follow, therefore, I intend to have the same subject, so that there is some consistency and an almost narrative. So combining shots of the subject and various other location shots, I will produce a creative montage that explores the elements of the new wave as a whole.

Overall, I want to convey an expression of creativity, as it appears to be the foundation upon which a majority of new wave movements were constructed. Like the texts I had studied for my contextual essay, from the Czech movement, the viewer is able to develop their very own interpretation, as a result of the loosely structured narrative and abstract depiction.

New Wave - Video Planning

Shooting Plan 1

For my initial shoot, I intend to experiment with lighting techniques. For this, I will particularly make use of natural lighting, as it was something that a majority of new wave films utilised; the natural element completely juxtaposed the conventional large studio set-up, which had become the norm for film productions made prior to such alternative cinematic movements.

As the initial idea for my film focuses upon expressing beauty ideals within todays society, I would like to shoot the subject in quite an alternative manner; I intend to focus upon the shadow of the subject, as this is suggestive of distorted perceptions that one may hold about themselves.

I experimented with surfaces that are the right texture/colour to capture shadows without reflecting too much light, in order to capture the effect with clarity. The outcome created a surreal ambience, which was what I desired to create, this kind of footage would be ideal to feature within a montage sequence, something that was common amongst a variety of new wave films.

The indirect filming also holds significant conceptual depth, connoting towards the inability to view oneself with acceptance. This will also give me the opportunity to develop some narrative, centred around the subject and a discovery of who they are.

Laura Mulvey - Visual Pleasure and Narrative Cinema

Mulvey suggests that cinema audiences are forced to observe films from the perspective of a heterosexual male, which involves the gaze of the camera - otherwise referred to as the 'Male Gaze', the gaze of the audience and finally, the gaze of the characters within the film.

This concept is reinforced by Sigmund Freud's allusion to scopophilia, which is ultimately finding pleasure in observing; an expression of sexuality. Freud suggests that from babyhood, we have a natural tendency to fix our gaze upon objects and although we gain more control over what we observe as we grow, it never diminishes completely. Hence, Mulvey argues that the cinema is the perfect location for engaging in such 'voyeuristic fantasies', as a result of the dark, silent atmosphere in which nobody is restricted from viewing with pleasure.

The technical elements in film which significantly enhance the use of a male dominated camerawork include: close-ups, fragmentation, slow motion, focus, lighting/spotlighting and editing style in which we often see the shots cut between the spectator and the spectacle.
The visual elements include tight, or no clothing upon the female subject, some form of analogy between machinery or sexualised objects which is suggestive of ownership over women. All of which can be seen within the film examples below, reinforcing Mulvey's suggestion that the cinema is very patriarchal.

Contextual Study - Evaluation

The initial research and planning process of my contextual study, entailed gathering information from a variety of sources. I began by developing my own understanding of the Czechoslovakian new wave as a whole, then proceeded to watch the films. I felt that this was efficient and certainly beneficial, as I did not begin the process without contextual understanding, hence I was able to grasp the essence of each film even if it was just slightly. By watching the films earlier on in the process, I was able to collect research, comprehend it well and blend my own interpretations in with it.

During the research process, I collected information primarily from books, articles and reviews. Doing this allowed me to develop my own interpretations of the films, as well as looking at the opinions of others, in order to intwine quotes into my essay where relevant. I found that the books proved to be the most useful resources for gathering details surrounding context of the new wave. Whereas reviews and articles provided me with in-depth definitions of the films and their symbolic meanings.

When collecting my research, I was particular in my findings and only used what was completely relevant to my essay, so that when it came to writing my work a concise and to the point study in which there was little room to stray from the subject at hand.

The most difficult aspect, was developing my own interpretations of the films, I was able to overcome this by watching individual scenes at a time and then analysing them. In this way I was given the opportunity to analyse the conceptual elements, as well as the filming and editing techniques.

Contextual Study - Essay

A Contextual Study Exploring Czechoslovakian New Wave From 1966 to 1970

For my contextual study, I will be exploring the Czechoslovakian New Wave, delving into the graphic and imaginative depths of a movement that illustrated a rather unconventional counterculture. In my research, I will be looking at the reasons why the movement evolved in the manner it did, by focusing on the social conditions of the time and the cultural impact that this had. I will be looking at the work of, Jaromil Jires, Vera Chytilova and Frantisek Vlacil, analysing their pioneering and iconic texts, such as: Valerie and Her Week Of Wonders (1970), Daisies (1966) and Marketa Lazarova (1967). 

Following the Second World War, Czechoslovakia began to gain international recognition, when director Karel Stekly was awarded the Venice Grand Prix of 1947, for his film 'Sirena'. Within the 1950's, Czechoslovakian cinema predominantly consisted of animated and puppet films, from the likes of Jiri Trnka and Karel Zeman. Therefore, the industry was relatively limited to only a certain, specialised area of filmmaking (HAMES, 2005).

Therefore, the abrupt, rebellious evolution of cinematic accomplishment in 1960's Czechoslovakia, was described at the time, as the 'Czech Film Miracle'. 'The miraculous and marvellous are integral to the revelations of Surrealism, a movement that claimed the attention of numerous 1960s filmmakers' (OWEN, 2011). The films traversed through fantasy and the depicted a vision of inner life, offering a form of cinema that had been 'liberated from the aesthetic constraints of the previous decade' (OWEN, 2011). Unlike the French and American new wave movements, the Czech equivalent did not disregard certain rules of cinema as drastically as the others. In fact the cinematography appears relatively conventional, without the use of handheld cameras and discontinuity in editing style. However, this visual style can be seen as a method of concealment; by using a rather orthodox pictorial approach, the essence of social critique would have been delivered to viewers in a manner of subtlety.

The official social realist system encouraged the production of grossly distorted representations of actual life and actual history (HAMES 2005). Although a majority of films within the movement were swathed in a shroud of surrealism, the underlying essence depicted the realities of a communist regime. The symbolic elements were carefully depicted in an artistic manner, in an attempt to inconspicuously target those in power. As a result of these indirect illustrations, the productions went unnoticed during the peak of the movement, hence nurturing a counterculture. It wasn't until the depths of the new wave had been reached that the motives of the films were realised and were inevitably banned. The movement was tragically cut short, by the soviet invasion, which ingrained a reestablishment of regularity, hence these films were forbid only to be released following the Velvet Revolution of the late 80's.

Directed by Vera Chytilova, 'Daisies' is an illustration of surrealist cinematography. It encapsulates a subtle sense of social critique, presenting the counterculture of the Czech New Wave movement by showing two female leads that elicit radical disobedience. The film has been considered as a pioneering one in the world of feminist cinema. This combination of feminism and the vibrance of 1960's pop art imagery, is a vigorous exploration of gender identities amidst a somewhat repressive and patriarchal society and was banned almost immediately by the Communist government.

"The overall effect is a dizzying kaleidoscope, as you can suddenly find yourself on a new set, as if by tilting your head" (BITTERNCOURT, 2012).

The constant fragmentation and alternation of the piece, together with the visual intricacy of Kucera's camerawork, makes it extremely difficult to write about. One could say, it may require a frame-by-frame analysis, in order to determine precisely what is being projected onto the screen. Chytilova's ultimate aim was to allow the spectator to derive their own meaning from the film, Rivette suggested that the two female protagonists are aspects of the same personality. Although this insightful interpretation offers an alternative view point, it holds no real relevance to the film itself. In the same way, there is no psychological link between the two, the only aspect of differentiation is the physical manifestation of each character. The director herself referred to the two female leads with all their creativity and destructiveness, as “two sides of the same coin,” in an interview during the 2002 Prague Film Festival. In addition to this, the fact that they are virtually nameless, opposes the expected conventions of film, where each character is given an identity. The reason behind this may be the fact that the heroine's of the film are unable to find any form of individuality amidst the confines of a very regulated society, hence they act out in a way that is deemed inappropriate. The film itself was banned, and director Chytilova was told she could not work until 1975.

A pivotal scene is the first encounter within the girls room, which effectively illustrates an atmosphere of aimless boredom. We see the two characters are 'ready to be diverted by the slightest event' (HAMES, 2005). Such inattentive conduct, is a direct contrast to the level of expected behaviour during the communist regime, the girls are somewhat a manifestation of protest; by drifting through the film with an evolving sense of carelessness, they perfectly represent an ideal counterculture of the time.

The scenes within the restaurant and nightclub are somewhat more straight forward to decipher, as opposed to those set in the confines of the room. The nightclub scene, includes 'the films first set of coordinated effects' (HAMES, 2005). The use of filters in various exotic hues, corresponds to the ballet-like music and the incorporation of freeze frames, perfectly portrays the fragmented rhythm. This particular technique offers a sense of time manipulation; what seems like an unceasing endeavor, is represented in a rather concise manner.

The scene begins with a wide shot, which introduces the setting and the two female protagonists who are both illumined by a spotlight. This lighting technique is suggestive of the way they crave attention and the fact that they enter through a stage backdoor reinforces their success in gaining acknowledgement from those around them, as they cause disruption from the onset. This introductory shot is a relatively long take; a typical feature of many new waves and a contrasting type of shot from those that were typically used in other genres of cinema at the time. It also acts as a reminder to the audience that they are simply watching a film.

Following this, the rhythm of the sequence is illustrated through the cuts which shift between the two dance performers and the two leads, showing their enjoyment and reaction to the dance. These cuts not only allow the viewer to see the girls indulgence in their surroundings, it also adds a compositional sense of balance. The next shot that returns to the two girls changes from the previous one; from a long shot to a mid shot. This allows the audience a get closer look at the two lead characters, particularly at their disobedient expressions and the way their actions are well coordinated, again suggesting they are simply 'two sides of the same coin'.

The control of mise en scene in terms of lighting and colour, highlights the surreal and experimental essence of the film. The bright hues that wash over the sequence allude to pop art imagery and unlike French and American new wave, show just how the Czech new wave movement did not give as much significance to the use of natural lighting. Such a free editing style is reflective of the loosely structured narrative of the new wave and in this instance, perfectly compliments the vividly augmented events that take place in 'Daisies'.

In the final section of the scene, the colour returns to a more conventional grey tone. As the audience is exposed to this transition from bright to bland, the two girls are escorted out, as a form of punishment for their vulgar indulgence in materialism. This ostentatious display of reckless female behaviour found throughout the film, contradicted the austere constraints that were prominent within such a Communist society. Undoubtedly, the film established great controversy and was promptly prohibited. 

Unlike other films in the movement, Jires' 'Valerie and Her Week of Wonders (1970)' was released following the soviet invasion and was not given the same amount of scrutiny as its preceding productions, therefore was not swiftly banned like the others. The film presents numerous parallels and dualities, highlighting the transformation from innocence into adulthood, depicted as some sort of a 'Freudian dreamscape' (SCOVELL, A). In spite of the fairytale-like ambience that is created, the production is saturated in varying Gothic elements; an authentic, yet radical depiction of the original novel, published in 1945. The author and renowned poet Vítzslav Nezval was regarded, in Czechoslovakia, as the leader of the poetic movement in the 1920's and pioneer of the surrealist movement in the 1930's. Therefore, the film is a reflection of Jires' 'brand of poetic sensitivity' (HAMES 2005) and also displays his adaptation of the novel, with his 'deliberate softening of the nightmarish elements of the original text' (HAMES 2005). Nezval's position of respectability as a Communist made it possible for Jires to resurrect the pre-war traditions of Czech art.

The diverse array of motif's, such as the rosary beads, teeth, necklaces and flowers, are only effective through the technique of repetition and not through the process of forceful indication of the imagery. In the same way, although there are repeated references to phallic symbols, they are not presented in an invasive manner, instead they feature as part of settings, unlike many Western representations such as Arthur Penn's 'Bonnie and Clyde' (1967).

Similar to the work of Vera Chytilova, 'Valerie' allows the spectator to develop their own interpretation of the film, by presenting them with the opportunity to combine their understanding with what appears on the screen. However, it certainly does not delve into the same vividly unknown depths as does 'Daisies', it simply works to a precisely conceived aesthetic pattern, both in the careful manipulation of its narrative structure and the composition of individual frames (HAMES 2005). It seems as though the most significant, or noticeable controversial aspect is the portrayal of hypocrisy surrounding Christianity. This is delivered through Valerie's gradual encounter with the world of adulthood and the haunting truths that are exposed to her regarding her family's elaborate sexual history.

The non-diegetic soundtrack, beautifully enhances the picturesque style of the film and is just as enticing as the moving image sequence itself. Such alluring unity between the audio and visual is what provides dynamic to the film, creating an enchanting atmosphere, which exquisitely represents the beguiling content of the film.

Within the final scene of the film, there appearance of various motifs and characters are revisited for the final time, in order to bring about some sort of closure. The use of a shallow depth of field perfectly draws the viewers attention towards Valerie herself as she wonders through the dreamscape setting, observing those that surround her. The high vantage point of the penultimate shot compliments and really enhances the vast capture, in which we are shown various characters from the film dancing in a circle around Valerie's bed. They do so quite theatrically, almost as though they are conducting a celebratory parade of sorts. Perhaps the denouement of the film is in fact a celebration of the fact that Valerie has survived the consuming grip of adulthood and all the temptation of physical desires that come with it.

The final image shows the female protagonist framed in solitude, in the middle of a clearing, delicately placed upon a white, frilled bed, prior to this, we see that all others are now gone. It can be suggested that the concluding frame is indicative towards the fact that Valerie has been able to preserve her innocence and untainted spirit despite the many enticements and horrors of the world that she has experienced. She is able to fall asleep, with some sort of ease equivalent to that of an infant in a cradle. This can be reinforced by the recurring white dove motif, which possibly represents Valerie's pure spirit, the way she is shown to continuously nurture it even during times of difficulty. This motif also holds some biblical significance; in reference to Matthew 3:16 and Luke 3:22, a white dove is known to signify the Holy Spirit, which was declared during the baptism of Jesus Christ.

When observing from a broader perspective, it can be seen that the film itself highlights particular controversies surrounding religion and those who have supposedly respectable roles in the religious hierarchy. In addition, the surreal and rather hypnagogic exploration of sexuality and erotic fantasies were intensely unconventional, particularly in regards to the social context of the time. Contextually, these were all somewhat dangerously sensitive issues to touch upon, however, the surreal composition of all events and occurrences within the film, provided an artistic disguise to cleverly conceal the controversial essence. The priest and vampire-like figure, Tchor elicits authoritative behaviour, perhaps even posing some level of threat or repression. 'Jires leaves it open as to whether these threats are actual (socio-political forces) or psychological' (MARTIN, 2013). Czech audience of the time would have been able to identify that there is some social satire present within the film, however it is clear to see that is has been shrouded in a fantasia of magic and myth. The film itself may be, simply, an illustration of a Czech town, or to some extent of a youthful girl, who is 'liberated through dreams' (MARTIN, 2013).

'The film’s power rests entirely in its magnetic and darkly erotic imagery, which captivates as much as it disturbs' (KHAN, 2015). 

The cinematic masterpiece, 'Marketa Lazarova' brings to light various themes and motifs in a vividly beautiful way. The film shows the transition between Paganism and Christianity set in a Medieval bohemia within the 13th century. It has been acknowledged as the greatest Czech film of all time. The somber visual element perfectly captures the bleak and torrid realities of the Middle Ages through the eyes of the common peasant (CLARK). The cinematography itself makes Vlacil's treatment of film more universal, with a familiar and somewhat comforting black and white aesthetic. This is perhaps a result of the directors acquired skills as an art historian, which he entwined in the delicate and precise visual work of the film. The relatively conventional visual and cinematic structure, was not purely used for aesthetic purposes, it can be argued that this was done purposefully, in order to mask the brutally grim truths behind the film. However, it may be suggested that the essence of his work depicted a style that 'owed more to poetry than socialist realism' (MARTIN, 2013).

The introduction features a diverse selection of predator like creatures, both animal and human. This vivid combination consists of a pack of wolves and huntsmen, illustrating a predatory and vicious setting right from the onset. The essence of the plot is foreshadowed by this, as it revolves around two rival clans, the Lazar's and the Kozlik's, alluding to the evolving conflict between Christianity and Paganism. Amidst all of this, the film also follows the unfortunate love, which blossoms between Mikolas Kozlik and Marketa Lazarova.

The most significant and unconventional aspect, particularly found across the Czech new wave films, is the blur of time. It somewhat appears that events do not follow a chronological order, confusing the loose narrative in an almost deliberate attempt to oppose the norms. Often, as one shot transitions into the next, the audience finds themselves in an entirely new setting, which they are brought to light by some vividly experimental visual connections. This is cleverly and conceptually portrayed in 'Marketa Lazarova'.

The opening titles on screen are enhanced by the rather traditional sounding narration, reciting ancient wonders. Following this, the film presents a beautiful landscape, which has been captured and presented with a sense of great cinematic appeal. This injects a traditional feel, complimenting the black and white aesthetic. In contrast to this, the shots of the wolf pack and barren land appears to be somewhat desolate and uninviting and this is really drawn upon by the shots that have been conducted from behind the trees; casting luring shadows upon the subjects, constructing an ambiguous ambience. The narrators voice seems to travel, suggestive of the films unique creativity and of the way sound is utilised in three dimensional space. The narration advances 'from a distant, echoing reverberation to an intimate nearness' (GUNNING, 2013). By further drawing from the familiar, the sequence also makes use of rough panning shots, quickly guiding the viewer to follow the direction of the conversation, as well as hinting towards the more unconventional side of the new wave movement.

'In less than two minutes, Vláčil creates a world tensed with potential violence, interwoven with a harsh natural beauty.' (GUNNING, 2013).

Protagonists of the new wave were often presented as individuals who acted spontaneously or upon impulse and as a result, their actions were seen as immoral, or unconventional. In each of my three chosen texts, it is clear that this is the case; 'Daisies' presents two female leads who lack a social identity and behave in an unsuitable manner, in comparison to those around them. The protagonist Valerie, is exposed to the dark world of adulthood, in which she explores her sexual relationships in some form of a grotesquely erotic fantasia. And finally, in 'Marketa Lazarova', we see that the sequence follows the journey of forbidden love, whilst portraying the result of a gruesome feud between clans.

Overall, it appears that the common thread amongst the tapestry of films, is the portrayal of emotions and desires, which were suppressed in Czechoslovakia at the time. 'The Czech counterculture of the 1960's, bit the iron fist that fed it. The new wave movement was less interested in the exposure of lies than in the assertion of neglected truths' (OWEN, 2011). The vast array of films brought to light the significance of desires, dreams, sexuality, fantasy and has been renowned as the most radically memorable of all cinematic new wave movements.


Bibliography:
Daisies. (1966). [Film] Czechoslovakia: Vera Chytilova.

Valerie and Her Week Of Wonders. (1970). [Film] Czechoslovakia: Jaromil Jires.

Marketa Lazarova. (1967). [Film] Czechoslovakia: Frantisek Vlacil.

HAMES, P. (2005) The Czechoslovak New Wave. Second Edition. London: Wallflower Press.

OWEN, J L. (2011) Avant-Garde to New Wave: Czechoslovak Cinema, Surrealism and the Sixties. New York: Berghahn Books.

MARTIN, S. (2013) New Waves in Cinema. Hertfordshire: Kamera Books.

SCOVELL, A. (2015) Valerie And Her Week Of Wonders (1970) – Duality Through Sound and Vision. [Online]. Celluloid Wicker Man (Part 1/February). Available From: http://celluloidwickerman.com/2015/02/09/valerie-and-her-week-of-wonders-1970-duality-through-sound-and-vision-part-1/

BITTERNCOURT, E. (2012) 'Daisies'. Slant Magazine. [Online] (July) Available From: http://www.slantmagazine.com/film/review/daisies

RAPOLD, N. (2012) An Audience for Free Spirits in a Closed Society. NYTimes. [Online] (June) Available from: http://www.nytimes.com/2012/07/01/movies/daisies-from-the-czech-director-vera-chytilova-at-bam.html?_r=0

CLARK, M. (2014) The New Wave and Beyond: Czech Cinematic Classics. [Online]. Available from: http://theculturetrip.com/europe/czech-republic/articles/new-wave-and-beyond-czech-cinematic-classics/

HAMES, P. (2000) In The Shadow of The Werewolf. [Online]. Central Europe Review (Vol. 2, No 35). Available from: http://www.ce-review.org/00/35/kinoeye35_hames.html

KHAN, I. (2015) Sexual Horror in Valerie and Her Week of Wonders. Pop Matters (July). [Online] Available From: http://www.popmatters.com/review/195341-sexual-horror-in-valerie-and-her-week-of-wonders/

GUNNING, T. (2013) Cinema of The Wolf: The Mystery of Marketa Lazarova. Criterion. [Online] (June). Available From: https://www.criterion.com/current/posts/2809-cinema-of-the-wolf-the-mystery-of-marketa-lazarova

Rules of Editing - Daisies (1966) Scene Analysis

New Wave - Brief

New Wave - Film Brief 

When analysing various new wave movements along with the films themselves, I found that they all shared a common theme. It appears as though their predominant aim was to highlight a specific social aspect and bring some awareness to the possibility of a counterculture. For my contextual analysis, I looked at Czechoslovakian New Wave and the found that the films produced within the movement portrayed a strong message about living under the confines of a Communist Government. Correspondingly, new waves of other cultures were also delivering similar messages in relation to their social conditions at the time.

Cinematically, many of the films opposed typical conventions, both in terms of the types of shots used and the editing style. Some conspicuously lacked any sense of continuity, disregarding techniques like eye-line match and making use of jump cuts, creating a disjointed and unconventional feel. This free editing style perfectly complimented the loosely structured narrative that many of these texts utilised.

With all of the above in mind, I intend to consider what areas of today's society I could possibly highlight and use to depict some form of counterculture. However, I also want to ensure that I do not produce a tightly structured narrative, instead I want to direct attention to the way the sequence is shot. Conceptually, I have the idea of looking at beauty ideals within today's society; in terms of shooting this, I intend to use the camera as a mirror, having the subject conduct some sort of beauty routine, make up or hair etc. In technical terms, to make this particularly appealing, the use of a shallow depth of field would be ideal in order to really isolate the subject. Similarly, the use of extreme close ups focusing upon the eye or the mouth area will be effective in delivering the conceptual element, as well as adding a great deal of visual diversity.

In terms of editing, this will provide the perfect opportunity to make use of jump cuts, in order to develop a sort of disorientated feel. I would intersect these shots with others, that are much more symbolic and indirect. In new wave I have found that although certain techniques look like they have been used purely for visual or aesthetic purposes, they in fact represent something much deeper, each shot - as unorthodox as it may appear - holds some sort of symbolic significance.

The visual style of new wave is very distinctive, with rough editing, use of natural lighting/settings and clear use of handheld cameras. The overall feel that these films conceive results in a raw appeal, which offers something fresh and youthful to the world of cinema. Hence a majority of the films were accepted amongst an audience that consisted mainly of young adults. The directors themselves were relatively young too and this was made apparent by the content of many of the films, as they were quite radical in nature. Therefore, I would like to aim my sequence towards a younger audience, hence I will allude towards certain topics that are relevant amongst the youthful generation of our society.

Visually, I plan to shoot and edit in accordance with past new wave movements so that I can authentically portray the effect of these rather alternative films. I will shoot without the use of a tripod and incorporate such edits as jump cuts, in order to show a contrast between the typical conventions of cinema and new wave.


In addition, I intend to keep a very loose structure in terms of narrative; in order to do this I would like to maintain a surreal and almost hypnagogic style, which I have recognised as a key feature particularly in Czech new wave. Yet at the same time, I intend to touch upon specific themes in society. My ultimate aim, is to create a short film that holds visual depth through the use of symbolic imagery and by doing this, the audience will be able to derive their own interpretation of the film by what they can identify most with. 

New Wave - Video Planning

Visual Mood Board 

Shutter Speed

The Shutter Speed function, is what determines the length of time in which the camera's sensor is exposed to the available light source. Hence, the longer the shutter is open, the greater amount of time the sensor has to gather light. In low-light settings a longer shutter speed is typically required to ensure correct exposure, by allowing more light to reach the camera sensor.

Often, shutter speed and frame rate are referred to in the same context, however, the frame rate indicates how many frames are captured per second, whereas the shutter speed simply refers to the amount of time in which a single frame is exposed for.

One of the major influences on the sharpness of an image, is based on camera shake and the subject's movement (Slyvan 2012). This means that a lower shutter speed is allowing more light from the subject into the camera, therefore their movement may appear less sharp, or may even produce blur. A greater shutter speed will produce less blur and capture more sharply.

In my own examples, I used two different shutter speed settings. the first video was shot using a shutter speed of 50, whilst the other one was set at 125.






Overall there is a visual difference between the two shots, particularly in terms of clarity. The first shot does not depict each feature of the water and its movement so explicitly, whereas the following clip shows greater detail and sharpness.

As I was adjusting the shutter speed, I had to ensure that each video was exposed correctly, therefore altered the ISO and aperture settings accordingly.

Reference List:
SLYVAN, R. (2012) Nikon D3200: From Snapshots To Great Shots. San Francisco: Peachpit Press.

Art Foundation Shoot - Reflection and Health and Safety

In order to authentically portray the range of artwork, I ensured that I'd captured a range of shots, involving various camera techniques and styles, in order to show the individuality and striking diversity that each piece offers. This way, I would be able to present the visual aspect of the work, as well as conveying a sense of the conceptual essence.

I used a zoom lens, to get a larger aperture and compensate for the low light available indoors. this also provided me with an opportunity to explore with focus techniques and the use of a shallow depth of field, to really focus upon a single focal point. I also combined a range of pans, tilts, close ups and wide shots, in order to get a feel of the overall art space and the separate creations.

When filming in the Art Studio, there were many things that I had to consider in regards to health and safety.

Potential risk hazards include the floor conditions, any spillages or materials that may pose a risk of slipping or damaging equipment must be dealt with correctly. Hence, I ensured that nothing was in the way of myself and the camera set-up before conducting my shoot.

Similarly, when using the tripod I had to check that it was positioned in such a way that it would not become an obstruction to anybody within their personal or work space. In addition, I ensured that the tripod I was using was not going to fall and potentially cause any breakages.

Art Foundation Shoot

Daisies 1966

Directed by Vera Chytilova, 'Daisies' is an illustration of surrealist cinematography, which encapsulates a subtle sense of social critique, presenting the counterculture of the Czech New Wave movement, by presenting two female leads that elicit radical disobedience. The director herself referred to the two female leads with all their creativity and destructiveness, as “two sides of the same coin,” in an interview during the 2002 Prague on Film Festival in London. The film itself was banned, and director Chytilova was told she could not work until 1975.

"The overall effect is a dizzying kaleidoscope, as you can suddenly find yourself on a new set, as if by tilting your head" (BITTERNCOURT, 2012).

The constant fragmentation and alternation of the work, together with the visual intricacy of Kucera's camerawork, makes it extremely difficult to write about. Frequently, it can require a frame-by-frame analysis to determine precisely what is being projected onto the screen.

Chytilova's ultimate aim was to allow the spectator to derive their own meaning from the film, Rivette suggested that the two female protagonists are aspects of the same personality. Although this insightful interpretation offers an alternative view point, it holds no real relevance to the film itself. In the same way, there is no psychological link between the two, the only aspect of differentiation is the physical manifestation of each character.  

A pivotal scene is the first encounter within the girls room, which effectively illustrates an atmosphere of aimless boredom. We see the two characters are 'ready to be diverted by the slightest event' (HAMES, 2005). The conventional visual and aural sounds from the street, alludes to an unavoidable form of desolation which is unusually impactful.

Conversely, the scenes within the restaurant and nightclub are somewhat more straight forward to decipher, as opposed to those set in the confines of the room. The nightclub scene includes 'the films first set of coordinated effects' (HAMES, 2005). The use of filters in various exotic hues, corresponds to the ballet-like music and the incorporation of freeze frames, perfectly portray the fragmented rhythm. This particular technique offers a sense of time manipulation; what seems like an unceasing meal, is represented in a rather concise manner.

Reference List: 
HAMES, P. (2005) The Czechoslovak New Wave. Second Edition. London: Wallflower Press

BITTERNCOURT, E. (2012) 'Daisies'. Slant Magazine. [Online] (July) Available From: http://www.slantmagazine.com/film/review/daisies

RAPOLD, N. (2012) 'An Audience for Free Spirits in a Closed Society'. NYTimes. [Online] (June) Available from: http://www.nytimes.com/2012/07/01/movies/daisies-from-the-czech-director-vera-chytilova-at-bam.html?_r=0

Music Video - Analysis Of Text

Although the layout of the video is relatively simple, as the layout remains the same in a studio performance set up, the overall edit effectively represents the feel of the music and the most striking aspect is the pace. Each shot is introduced in time to the audio, creating harmony between the audio, visual and lyrical elements.

Mise en scene costume, the red attire of the band is indicative towards the conceptual aspect; as red presents connotations of passion, the very choice of costume reinforces an expression of
their emotion and zeal towards music itself, contradicting the lyrical content; 'ban all the music'.
This also adds to the band identity, which is further enhanced by the fact that each band member is dressed in a similar manner, however they each have a distinctive style that reflects them on a more personal level.

The exposition of the sequence is built up by the gradual zoom, directed towards the singer. This draws the viewer in and alludes to
leads to the chorus in which the shots become much shorter, reflecting the pace of the audio.

A significant visual feature within the chorus section, are the concise pans that portray the tempo accurately, adding dynamic appeal with the swiftness of movement. They are also reinforced by the use of close ups, which utilise a shallow depth of field, directing the audience precisely towards the subject of focus and successfully holding their attention. This technique not only works in a visual sense, however it underpins the rhythm of the song. As Goodwin suggests these close ups are an expression of artistic portrayal, emphasising the band image and the overall performance.

As the intensity of the song increases, not only do the shots becomes quicker, the lighting also becomes more explicit. The transitions consist of flashing, which highlights the havoc that is occurring, creating a tense atmosphere and a vision of ambiguity.

This is complimented by the inversion of colour, which again alludes towards the unconventional happenings. By incorporating the use of handheld shots showing various angles and perspectives, the impact of the video becomes stronger and suggests a sense of unease.

The slow motion section of the sequence, visually represents the instrumental interval of the track and acts as a build up to the final chorus. In spite of the reduced pace of the shots, vigour is still maximised, which demonstrates that slower shots are just as effective as those that are faster, it simply depends on how they are utilised.

The overall editing has been conducted in such a way that the music is visually manifested in the video. Shots have been sharply merged to portray the rapidity of the audio, causing a significantly memorable montage of sequences. A distinct example of this appears in the final chorus, where the shattering of glass is featured on the first hit of the snare in that section.

The production, is an example of just how visual and audio are equally paramount factors in creating an effective piece of media when used well in correspondence.

Lighting - Studio Set-up

To achieve Edge Lighting, also referred to as Split Lighting, I used a single light source, positioned at a 90 degree angle from the subject. This resulted in low-key lighting, casting half of the subject into shadow and half into light. Producing dynamic and a high contrast. I also made use of panning, to offer a wider perspective of the overall shot.

In order to authentically create the effect of Rembrandt Lighting, it took a few attempts to get the positioning of the key light accurate enough to create the iconic triangle of light under the eye of the subject.I adjusted the height and angle accordingly, around 45 degrees from the subject. I was able to achieve the desired look, however I felt that the intensity of the lighting technique could have been improved in order to make the specific attributes much more conspicuous. To fix this, would simply require more practice and experimentation.



Whilst shooting in the studio, there were many things that I had to consider in terms of health and safety. First of all, I ensured that the tripod was set up correctly and not posing any harm by obstructing anything, or anyone, avoiding any potential for breakages.

Furthermore, when I was not not using the studio lights, I was sure to switch them of, allowing them to cool in order to prevent them from overheating and posing a potential risk hazard of injury by burning.

Lighting - Diffuser & Creating Shadows

Using diffusers allows the available light to be dispersed in an experimental manner, in this case, casting a visual array of light and shadow across the face of the subject. Also producing interesting shapes and structures that create a deep and intriguing contrast.

Lighting - High Key & Low Key

Light not only provides us with the ability to see an object or subject, it also adds to mood and ambience, offering various atmospheric elements. Both natural and artificial lighting is heavily responsible for giving visual depth and meaning in moving image, therefore I experimented with capturing a variety of scenes in different lighting situations, in an attempt to develop a better understanding of how to use light in the most effective way.

I looked at the use of a low light set-up and began by exploring the effect of natural light; although it may be predominantly associated with high-key lighting, I wanted to manipulate it in a way that would produce a nice contrast between high and low-lights.

For these videos, I made use of window frames and blinds, allowing them to cast shadows across the subjects, creating various shapes and manipulating the intensity of light, hence acting as a diffuser.
To add visual appeal, I also incorporated the use of rack focus, shifting the perspective and making use of the entire frame. Overall, quite a moody atmosphere was created, offering an alternative interpretation to these otherwise mundane objects.



In addition to this, I used a studio set-up to achieve low-light. By using a backlight as the predominant source of illumination, a somber and more dramatic ambience was conceived. The light was placed to the side of the subject, opposite the camera position. This created a distinct contrast, placing only half of the subject in illumination.






I then began to experiment with using natural light to create more high-key style lighting. Although it is a powerful light source, the way it is used will determine what kind of light is produced. Therefore, I chose to have the subject, or the object directly in the light, allowing them to be illumined to a higher extent. The colour that the light produces, is also a significant factor in affecting the overall ambience and in this instance, a warm tone has been constructed, as a result of the use of natural sunlight.

Czech New Wave

Following the Second World War, Czechoslovakia began to gain international recognition, when director Karel Stekly was awarded the Venice Grand Prix of 1947, for his film 'Sirena'. Within the 1950's Czechoslovakian cinema predominantly consisted of animated and puppet films, from the likes of Jiri Trnka and Karel Zeman. Therefore, the industry was relatively limited to only a certain, specialised area of filmmaking (HAMES, 2005).

The abrupt, rebellious flowering of cinematic accomplishment in the Czechoslovakia of the 1960's, was described at the time, as the 'Czech Film Miracle'. If the term ‘miracle’ referred here to the very existence of that audacious new cinema, it could perhaps also be applied to much of its content: the miraculous and marvellous are integral to the revelations of Surrealism, a movement that claimed the attention of numerous 1960s filmmakers. (OWEN, 2011)

The official social realist system encouraged the production of grossly distorted representations of actual life and actual history (HAMES 2005). Although a majority of films within the movement were swathed in a shroud of surrealism, the underlying essence was ultimately an opportunity to depict the realities of a communist regime. The symbolic elements were carefully depicted in an artistic manner, in an attempt to inconspicuously target those in power. As a result of these indirect illustrations, the productions went unnoticed during the peak of the movement, hence nurturing a counterculture. It wasn't until the depths of the new wave had been reached that the motives of the films were realised and were banned.

Reference List:
OWEN, J L. (2011) Avant-Garde to New Wave: Czechoslovak Cinema, Surrealism and the Sixties. New York: Berghahn Books.

HAMES, P. (2005) The Czechoslovak New Wave. Second Edition. London: Wallflower Press.

http://www.kinema.uwaterloo.ca/article.php?id=494&feature

Valerie & Her Week of Wonders (1970)

SCOVELL, A. (2015)


The film itself presents numerous parallels and dualities, highlighting the transformation from innocence into adulthood, depicted as some sort of a 'Freudian dreamscape' (SCOVELL, A).
In spite of the fairytale-like ambience that is created, the production is saturated in varying Gothic elements; an authentic, yet radical depiction of the original novel, published in 1945. The author and renowned poet Vítzslav Nezval was regarded, in Czechoslovakia, as the leader of the poetic movement in the 1920's and pioneer of the surrealist movement in the 1930's. Therefore, the film is a reflection of Jires' 'brand of poetic sensitivity' (HAMES 2005) and also displays his adaptation of the novel, with his 'deliberate softening of the nightmarish elements of the original text (HAMES 2005).

Nezval's position of respectability as a Communist made it possible for Jires to resurrect the pre-war traditions of Czech art. Their interest however, should not be seen as a case of mere opportunism.

 Similar to the work of Chytilova, 'Valerie' allows the spectator to develop their own interpretation of the film, by presenting them with the opportunity to combine their understanding with what appears on the screen. However, it certainly does not delve into the same vividly unknown depths as does 'Daisies', it simply works to a precisely conceived aesthetic pattern, both in the careful manipulation of its narrative structure and the composition of individual frames (HAMES 2005).

The diverse array of motif's, such as the rosary beads, teeth, necklaces and flowers, are only effective through the technique of repetition and not through the process of forceful indication of the imagery. Although there are also repeated references to phallic symbols, they are not presented in an invasive manner, instead they feature as part of settings, unlike many Western representations such as Arthur Penn's 'Bonnie and Clyde' (1967).

Reference List: 
HAMES, P. (2005) The Czechoslovak New Wave. Second Edition. London: Wallflower Press.

SCOVELL, A. (2015) Valerie And Her Week Of Wonders (1970) – Duality Through Sound and Vision. [Online]. Celluloid Wicker Man (Part 1/February). Available From: http://celluloidwickerman.com/2015/02/09/valerie-and-her-week-of-wonders-1970-duality-through-sound-and-vision-part-1/

Introduction to New Wave Contextual Study

For my contextual study, I will be exploring the Czechoslovakian New Wave, delving into the graphic and imaginative depths of a movement that evoked an unconventional counterculture. In my research, I will be observing the reasons why the movement evolved in the manner it did, by focusing on the social conditions of the time and the cultural impact that this had.

I will be looking at the work of, Jaromil Jires, Vera Chytilova and Frantisek Vlacil, analysing their pioneering and iconic work. The films I will be studying are Valerie and Her Week Of Wonders (1970), Daisies (1966) and Marketa Lazarova (1967).