How can we have a Movie without Movement?

Howcan we have a Movie without Movement?

Howcan we have a Movie without Movement?

Thecomposition of various movies has indicated that it is possible tohave a movie without movement. Movie directors have been able to usevarious aspects to create movement without actual moving. Theseaspects portray the illusion of movement. La Jetee by Chris Marker isa good example of such movies. La Jetee is a time travel film with nomovement and is narrated by using outcrop of motionless photographs.Similar to other movies, La Jetee has been able to attain a sensationof time lapse and movement principally through editing (Marker,1962). Marker has used various editing features including fade-ins,dissolves, and fade-outs to capture human state as well as to inflamethe sensation of time lapse. These features imply ongoing transitionsand lengthy time lapse. Marker has used dissolves over and over againwith the intention of generating the sensation of passed time in amotionless visual ambiance (Marker, 1962). Although fade-outs andfade-ins have been employed infrequently in the film, they provide anextended transition between diverse parts. As compared to fades,dissolves are believed to be more vibrant as they offer lengthytransitions, which in turn lengthen the supposed psychological breaksfrom one scene to the other. Therefore, editing allows film editorsto generate dissolves, fade-outs and fade-ins, which create anillusion of movement without actual moving.

Theother aspect used to create an illusion of movement in films iszoom-ins (Carroll, 1996). In La Jetee, Marker has opened the firstshot by creating the idea of the delusion of movement and time(Marker, 1962). It comprises of an unmoving scene of the airport.However, by zooming out speedily, the shot seems to be real andmoving. The actual airport sounds as well as visuals also enhancesthe sensation of movement. This implies that visuals and sounds areused by movie makers do discover the idea of movement. An example inLa Jetee is the series of the damaged buildings in which the sceneseems to be moving. In actuality, this is just but a delusiongenerated by the movement of the motionless image. Zooming-in andzooming-out lessens and enlarges the images respectively, whichcreates an illusion of movements in the audience’s mind. Zoom-insenables the delusion of cinematic movement to recur severallythroughout the movie with no real movement.

Reducingthe speed of motionless pictures is another way of creating a moviewithout actual movement (Carroll &amp Choi, 2009). This aspect isevident in La Jetee which enables the writer to stress on the falsefeeling of movement. Reducing the speed makes the audience see thestill photographs as if they are moving but in actual sense, they arenot. Apparently, movement in a movie depends on the unpredictabilityof individual insight, whereas actual movement is only implicit asput forth by Einstein’s theory (Carroll, 1996). In addition tothis, movement is seen as an arty choice that is theoreticallyavailable (Carroll &amp Choi, 2009).

Ina nutshell, movie editors and writers have been to create andillusion of movement in movies. This has been evidenced in variousmovies and in particular La Jetee by Marker. In his movie, markermakes use of still images and this act as a foundation of continuousspeculation regarding time lapse. Visual photographs have beenevidenced to rise above time. Marker has used various aspects tocreate the illusion of movement in his movie. They include movementby editing, zoom-ins, visuals, and sounds. These aspects have beenstressed all through the movie which gives it a sensation ofmovement. The use of these features implies that it is possible tohave a movie without movement.


Carroll,N. &amp Choi, J. (eds). (2009). Philosophyof film and motion pictures: An anthology.New York: John Wiley &amp Sons.

Carroll,N. (1996). Theorizingthe moving image.Cambridge: Cambridge University Press.

Marker,C. (1962). LaJetée(Movie).