It's a 30 minutes adventure or the revival of eye contacting in the street.
We only see the parts of people's bodies and their actions, and soon pass, never keeping them longer, just like what we might experience when we are walking in the street, but as Ernie and the structural filmmaker did, play with the point of view and the subjectivity and objectivity, we saw a long shot including the entire people and parts of the street, this essential shot, proved the existence of the objectivity. They are there, never faded away.
But then after the intercuts of shots of reality, which too brilliantly imitated the views of people's eyes, the Brecht-self-reflectivity had shown up by the directors and movie camera's interruptions of changing in the exposure and the yellow-lacquered images. I guess this is the part of Ernie's own signature, and I think it somehow ruined the former experience, but continued unraveled the camera's functions.
We only see the parts of people's bodies and their actions, and soon pass, never keeping them longer, just like what we might experience when we are walking in the street, but as Ernie and the structural filmmaker did, play with the point of view and the subjectivity and objectivity, we saw a long shot including the entire people and parts of the street, this essential shot, proved the existence of the objectivity. They are there, never faded away.
But then after the intercuts of shots of reality, which too brilliantly imitated the views of people's eyes, the Brecht-self-reflectivity had shown up by the directors and movie camera's interruptions of changing in the exposure and the yellow-lacquered images. I guess this is the part of Ernie's own signature, and I think it somehow ruined the former experience, but continued unraveled the camera's functions.
