06
Apr

Ballet Mecanique: The Third Gender Theory

Classical ballet is regarded an incredibly technical dance form which emphasizes on precision and perfection of movements like the pirouette, which is a rapid whirling from the body on one toe or balls of feet done often by ballerinas towards the end in the performance being a show-stopping move (such as the movie ‘Black Swan’). Ballet Mecanique is dominated by circular movements and resembles the pirouettes carried out in ballet and the repetitive cold mechanism inside film may allude towards the formal technicality from the dance (In Black Swan, Nina was criticized to be emotionless and technical). But there is something more to Ballet Mecanique that struck me only in my fourth or fifth viewing of the bewildering movie, when I thought we would require a pen and paper and dissect the film by marking down every object that appeared inside the frames. I term my findings as ‘Ballet Mecanique: The Third Gender Theory’.

I shall place down every element that appears on screen, and shall also offer a brief description of the items elements struck me especially. The very first image of Charlie Chaplin on-screen in a cut out inspired by Cubism art taught me to be wonder why Chaplin was chosen. Slowly I pointed out that Chaplin’s oldest movies relied much on repetition of actions and mechanical mime (I know this because I had the displeasure of watching a 1916 film of his that have probably hundreds of and fifteen moments of individuals kicking the other person in the rear side). His movements usually do not represent human movements but the ones from a character who’s been specially suitable for the audiences to laugh at. The next image is of an woman on the swing frequent lowering and raising her eyes being a puppet while a booming Antheil soundtrack plays inside the background. Suddenly a rapid succession of images break the flow and our eyes catch some circles and triangles, a typewriter, the legs of your chair, 1-2-3 numbers, bottles, machine parts and finally a hat. Then we understand the lips of the Pretty Woman Vhs smiling but her head isn’t visible – this image keeps repeating like many in the previous images, a few of which I couldn’t decipher in any respect, through the film.

The shiny ball is an important motif that keeps recurring at various points: precisely what does it represent or even more importantly, does it even represent anything? While thinking about the movie, when I pictured the oscillating ball, an image in the man later seen in the film also appeared in my head. The man appeared hypnotized and that is when I remarked that maybe, the shiny oscillating ball ended up being to hypnotize us. Next come essential images that support my theory: images of pot lids and round objects shown through prisms. The object of these prisms would be to multiply a figure or even an item, and It Takes Two Vhs only struck me later that I had seen such images elsewhere: it absolutely was inside my school whenever we used to go to the laboratory during our biology classes; whenever we employed to see plants beneath the microscope, the cell structure did actually form images much like the ones that have been within Ballet Mecanique. So will it mean Ballet Mecanique is showing us a person/thing/object’s cell structure that is certainly made from pot lids and bolts?

We get one shot of your parrot and the immediate thought during my head was that ‘this person or object that is being made will imitate human voice, actions and gestures in a rote manner’. We also glimpse shots of someone’s eyes, probably that ‘thing’s’ that’ll soon be revealed. The next portion in the film is a direct comparison of man and machines and is maybe probably the most easily understandable part with the film. Of course the multiple shots of an heavyset woman climbing the stairs with a gunny sack to be with her back bring us to cryptic-ville. But I noticed she gave a thumbs-up sign in the end each time, and even though that gesture might have been must the director perhaps the shot was alright, I consider it as a ‘thumbs up’ sign for your ‘object/person/thing’ to point it is planning to be completed. What puzzles us essentially the most is the following sequence of dancing digits, especially zero, one, two, three and inter-titles. Machine language consists of zeros and ones but I’m not sure whether machine language existed in those days. If it did, then a sequence smartly shows how our English language is processed to machine language it doesn’t want to see the meaning behind those words. But I think this complete sequence should’ve been skipped along with the soundtrack during the sequence should’ve been shortened to exclude the part.

The climactic moment arrives – a head shot of the androgyne first shaking her head around, then turning her face from to certainly left after which gaining various expressions. The previous juxtapositions led me to find my conclusion until this indeed could be the third gender figure created from machine parts to represent the expansion of technology. I also possess the DVD of Metropolis which was made inside the same period and too included a robot since its protagonist. To me, everything in Ballet Mecanique made sense after believing the sixteen minutes of abstraction’s purpose ended up being show the birth on this gender, slowly arising away from machine parts. The end shot of the woman smelling flowers makes us ponder whether she could actually smell the flowers or possibly she just miming human behavior. There are various interpretations on the net, one saying how the movie is approximately sex as well as the circle here may be the vagina and another one actually saying that the movie is around rape (that’s rape of cinema for us over the explosive images). Such theories only think about the immediate thing that comes on the end each time a circle is shown; I believe my theory is comparatively sound and well thought.