http://dx.doi.org/10.25038/am.v0i15.232

Kristian Pandža

Faculty of Dramatic Arts, University of Arts, Belgrade, Serbia

The Effect of the Handheld Camera on Narration and Ocularization in the Dogme 95 Film1

Abstract: This paper aims, based on the method of case study, to investigate how the handheld camera affects narration and ocularization in the Dogme 95 film. The Dogme 95 (hereafter lsquo;Dogmersquo;) film is a relatively recent filmmaking movement, which has its own set of strict rules – one of which requires shooting the film with a handheld camera. Regardless of the fact that the utilization of a handheld camera causes specific and recognizable image and movement aesthetics, which can be described as a specific handheld camera style, it is also an indispensable theoretical fact that it very much lsquo;speaksrsquo; through narration, in particular through focalization and ocularization, which is also theoretically confirmed by theoreticians of the Dogme film. The two most representative, and most prominent films of the Dogme filmmaking movement are Idiots [Idioterne] by Lars von Trier and The Celebration [Festen] by Thomas Vinterberg. The Dogme movement, famous for its inescapable and apparent pseu- do-documentary filming style – which enables one to ask the question what is here and how is the reality of reality here – raises additional questions, but also provides answers through thoroughly studying the way in which the handheld camera narrates audiovisually and how narration flows in the two aforementioned films. Additionally, it asks whether there is a differ- ence in narration and ocularization, or if it is disabled, and how the handheld camera becomes the narrator, in symbiosis with the character.

Keywords: narration; focalization; ocularization; handheld camera; Idiots; The Celebra- tion; pseudo-documentary; inserted narration

Introduction

Initially, some basic characteristics of Dogme film shall be outlined, the term handheld camera shall be explained, followed by the authorrsquo;s selected thoughts and commentary on key terms, such as narration, focalization and ocularization, to grad- ually progress to the main part of the paper, in which the author, based on scenes or

1 Considering that for the purpose of this scientific paper certain foreign literature was used, which has not been translated into certain languages, certain parts of the translation are a free translation by the author.

*Author contact information: veneyy@gmail.com 83

sequences selected from the previously mentioned films, will explore how the freely guided camera narrates audiovisually. For this purpose a case study method will be employed, which shall thoroughly analyze the laboratory occurrence or the process of the scenes or sequences mentioned. As stated above, two subjects (cases) have been chosen for analysis. These contain all required characteristics, by which two crucial questions – how and why – shall be answered in the manner required by the rule of the chosen method in order to conduct a proper study, as presented here.

About the Dogme film

Dogme 95 is a film movement that began in Denmark, inspired by the desire to return film to its original form – i.e., to purity. The movementrsquo;s founders are two directors, Lars von Trier and Thomas Vinterberg. On March 13, 1995 they signed the Dogme 95 Manifesto, which contains ten so-called Vows of Chastity,2 to which every director of the genre should comply in his filmmaking achievements. Soon after, more directors joined the movement. Some of the genrersquo;s most renowned films include The Celebration3 by Thomas Vinterberg [Festen, 1998], and Idiot4 by Lars von Trier [Id- ioterne, 1998]. Based on these two films, a study will be conducted on how the hand- held camera affects narration and ocularization in Dogme film, and whether there is a correlation between the two terms. Certain scenes or sequences from the two films will be selected, and based on those, an analysis and identification – i.e., a study – will be conducted.

2 Jana Hallberg i Alexander Wewerka, Dogma 95. Zwischen Kontrolle und Chaos (Berlin: Alexander Verlag, 2001), 9.

The rules of the Dogme 95 Manifesto are as follows:

1. Shooting must be done exclusively at the original spot or location; props must not be brought in.
2. Music is allowed in the film (if an actual band is playing in the scene) but must not be inserted afterwards.
3. To shoot the film solely a free handheld camera may be used.
4. The filming is in color, special lighting is not acceptable.
5. Special effects and filters are forbidden
6. The film must not contain superficial action or murders.
7. Temporal and geographical alienation is forbidden; hence the film takes place here and now (meaning not in the Middle Ages, or a distant future, or in another production world, nor on a foreign planet or an unknown location, etc.)
8. Genre films are not acceptable
9. The film format must be Academy 35 mm
10. The director must not be credited, meaning he must not be mentioned, not in the opening scene nor in the closing credits.

Nevertheless, some Dogme films break a rule or two, which is then contritely mentioned in the closing credits.

3 Plot: Respected family patriarch and businessman Helge (Henning Moritzen) is celebrating his 60th birthday at the family-run hotel. Gathered together amongst many family and friends are his wife Else (Birthe Neu- mann), his sullen eldest son Christian (Ulrich Thomsen), his well-traveled daughter Helene (Paprika Steen), and his boorish younger son Michael (Thomas Bo Larsen). Christianrsquo;s

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http://dx.doi.org/10.25038/am.v0i15.232

Kristian Pandža

Faculty of Dramatic Arts, University of Arts, Belgrade, Serbia

手持摄影对Dogme95电影中的叙事和日常化的影响1

摘要: 本文旨在基于案例研究的方法，研究手持相机如何影响Dogme 95电影中的叙事和视觉。Dogme 95（以下简称“Dogme”）电影是一部相对较新的电影制作运动，它有一套严格的规则,其中一条要求用手持相机拍摄电影。无论手持式相机的使用是否会产生特定的和可识别的图像和运动美学，这可以被描述为特定的手持相机风格，它也是一个不可或缺的理论事实，它通过叙述非常“纯粹”，特别是通过聚焦和视觉化，这在理论上也得到了Dogme电影的理论证实。Dogme电影制作运动中最具代表性和最着名的两部电影是拉斯·冯·提尔(Lars von Trier)的《白痴》(Idiots /Idioterne)和托马斯·温特伯格(Thomas Vinterberg)的《家宴》(The Celebration/ Festen)。Dogme运动以其不可避免且明显的伪纪录片拍摄风格而闻名,这让人们可以问这些的问题以及这里的现实情况如何,提出了更多的问题，但也通过彻底地研究其中的方式来提供答案。手持摄像机在视听语言上叙述了前两部电影的叙述流程。此外，它地疑问是否存在叙述和视觉上的差异，或者是否被禁用，以及手持相机如何成为叙述者，与角色共生。

关键词: 叙事;聚焦;分离;手持相机;白痴;庆祝会;伪纪录片;插入叙述

介绍

首先，概述了Dogme电影的一些基本特征，对手持摄影这一术语进行了解释， 然后是作者对关键术语的选择思路和评论，如叙述，聚焦和视觉，逐步进入论文的主要部分。作者基于场景或从前面提到的电影中选择的序列，将探索自由引导的摄像机如何在视听上叙述。为此目的，将采用案例研究方法，该方法应彻底分析实验室的发生或所提到的场景或序列的过程。如上所述，已选择两名受试者（案例）进行分析。这些包含所有必需的特征，通过这些特征，如何以及为什么,应按照所选方法的规则所要求的方式回答，以便进行适当的研究，如本文所示。

1 Considering that for the purpose of this scientific paper certain foreign literature was used, which has not been translated into certain languages, certain parts of the translation are a free translation by the author.

*Author contact information: veneyy@gmail.com

关于Dogme电影

Dogme 95是一部始于丹麦的电影运动,其灵感来自于将电影恢复到原始状态的愿望,即纯粹化。该运动的创始人是两位导演,拉斯·冯·提尔(Lars von Trier)和托马斯·温特伯格(Thomas Vinterberg)。1995年3月13日,他们签署了Dogme 95 宣言,其中发展出10个所谓的纯洁誓言（Vow of Chastity）2,该类型的每个导演都应该遵守他的电影制作成就。不久之后,更多的导演加入了这场运动。一些著名的流派电影包括托马斯·温特伯格(Thomas Vinterberg)的《家宴》(The Celebration/ Festen)和拉斯·冯·提尔(Lars von Trier)的《白痴》(Idiots /Idioterne)。基于这两部电影，我们将研究手持摄影如何影响Dogme电影中的叙述和视觉，以及这两个术语之间是否存在相关性。将选择来自两部电影的某些场景或序列，并且基 于这些场景或序列，将进行分析和识别 ,即研究。

2 Jana Hallberg i Alexander Wewerka, Dogma 95. Zwischen Kontrolle und Chaos (Berlin: Alexander Verlag, 2001), 9.

Dogme 95宣言的规则如下：

1. 摄影必须在故事的发生地完成。道具和布景不可以是后加的，（如果一个特定的道具对故事是必需的，必须选择一个这个道具可以被找到的地点）
2. 音轨永远不能与图像分开录制，反之亦然。（配乐不可以使用，除非音乐是摄制的场景里出现的）。
3. 摄影机必须是手持的。任何晃动或者手持所能达到的稳定程度都是被允许的。（电影不能发生在摄影机存在的地方; 摄影必需是在电影发生的地方）
4. 电影必须是彩色的。特殊打光是不可接受的。（光线过暗至不足以曝光的场景必需砍掉或者只使用附加到摄像机上的单一光源）
5. 光学处理和滤镜是被禁止的。
6. 电影不能包含肤浅、虚假行为。（谋杀，武器等不可以出现）
7. 时空上相距较远是不可以接受的。（也就是说电影必须发生在现在的世界）。
8. 类型片是不可接受的。
9. 胶片格式必须是35mm的。
10. 导演是不能署名的。

然而，一些Dogme电影打破了其中一两个规则，然后在结束学分中懊悔地提到。

3情节：受人尊敬的家族族长和商人Helge（Henning Moritzen）正在这一家庭经营的酒店庆祝他的

60岁生日。许多家人和朋友聚集在一起的是他的妻子Else（Birthe Neumann），他闷闷不乐的长子Christian（Ulrich Thomsen），他经常旅行的女儿Helene（Paprika Steen）和他淘气的小儿子Michael（Thomas Bo Larsen）。克里斯蒂安的双胞胎妹妹琳达最近在酒店度过了生命。

4剧情：一群看似反资产阶级的成年人花时间寻找他们的“内心白痴”来释放他们的抑制。他们通过在公共场合表现，就好像他们是发育有障碍一样。

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