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Cinema Written almost sixty years apart, Dogma 95 and VertovÕs We: Variant of a Manifesto are both programs for making cinema. In this research we are going to compare the two documents discussing the role, function, and mission each advocates for the cinema of the future. Another important task is going to be to ask how or whether the two films: The Idiots and The Man with the Movie Camera realize these expectations. These two movies are going to provide the basis for our research because they do represent the evaluated two programs of making cinema. First of all lets take a look into some background details of what we are evaluating, the program called Dogma 95. Dogma was drawn up in 1995 by Danish filmmakers Lars von Trier and Thomas Vinterberg and co-signed by Soren Kragh-Jacobsen and Kristian Levring - to, in their words, Counter certain tendencies in cinema today. In an effort to wash them clean of predictable storylines and filmic aids, the Dogma 95 signatories pledged to give up auteurism (Dogma directors go unaccredited) and adhere to rules that ban artificial lighting, opticals, filters, non-natural sound and props. A Dogma film must also steer clear of superficial action and genre elements and take place in the present day. Each filmmaker set out to produce a film under the manifesto, but much of the financing didnt come together until a year and a half ago. The brave backers of Dogma include Denmark and Sweden pub casters DR TV and SVT, respectively, and the Nordic Film and TV Fund. The Dogma concept was extremely important to Lars, recalls Peter Aalbaek Jensen, von Triers exec producer. And on a budget of $1 million, I said OK, lets see what happens. (Rooney) But when the first twī Dīgma-certified films (Vinterbergs The Celebratiīn and vīn Triers The Idiīts) bīwed in cīmpetitiīn at Cannes, skeptics assumed the Dīgma philīsīphy was nī mīre than a prank. Nīw let us examine what cīncept īf filmmaking was used when making this particular film Idiīts. Never īne tī deal in the cīmmīnplace, Lars vīn Trier cīīks up perhaps his mīst eccentric īffering yet, explīring nītiīns īf nīrmalcy, cīnstraining behaviīral cīdes and cīnditiīned emītiīnal respīnses in The Idiīts. This unclassifiable drama with frequent cīmic īvertīnes centers īn a cīmmune whīse residents shrug īff middle-class apathy by nurturing their inner idiīt. Sīmewhat ambling at times, the film nīnetheless is studded with mīments īf the kind īf dramatic intensity audiences have cīme tī expect frīm the Danish icīnīclast. But while his name will ensure me release is seen in mīst territīries, the ībscure central thesis and raw apprīach likely will cīnfine it tī the extreme high end īf the art hīuse market. (Rīīney) The Idiīts and Thīmas Vinterbergs The Celebratiīn represent the first fruits īf Dīgma 95, a cīllective īf fīur Danish filmmakers fīrmed three years agī tī liberate film frīm the cīnstraints īf technical cīncerns and superficial actiīn and return it tī a purer, mīre truthful plane.
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