Question 11 - Film Language:
Representation and Ideology in Man with a Movie Camera.
Dziga Vertov’s Man with a Movie camera provides an exploration into the ‘language’ of film aesthetics, applying images (which refer to a particular social context) to certain conventions of the film form, to ultimately express a politically influenced ideology of that point in time. Of course, given the context of the film’s production, on a social, cultural and political level Man with a Movie camera is generally read as a text which reflects a Marxist ideology, which is not in the least due to the intentions of Vertov himself; “Dziga Vertov, of course, considered his films to be documentaries, records of actuality, but all his work reflected his very personal, highly poetic vision of Soviet ‘reality,’ a vision he maintained throughout his life” (Dawson, 2003). As Vlada Petric suggests, this ‘vision’ is in fact paramount to Vertov’s filmmaking, “he repeatedly pointed out that the ‘deciphering’ of life through cinema must be done according to the Communist view of the world.” (Petric, 1978:30) However politically biased Vertov may have been, what is important in Man with a Movie camera is not what is said, but how it is said, and what methods Vertov employs to construct his vision of ‘Soviet reality’. [...]
Man with a Movie Camera, Vertov:
A classic documentary-experiment by Dziga Vertov, 1929.
VUFKU - 1 hr 7 min.
[ online ]
Kinoglaz
Kino-Eye - 1924. Directed by Dziga Vertov.
Dziga Vertov - 1 hr 19 min
[ link ]
Tri pesni o Lenine
... Songs About Lenin", this film was written and direted by Dizga Vertov in 1934. "Three anonymous songs about Lenin provide the basis for this ...
Dziga Vertov - 59 min
Shakhmatnaya goryachka
Directed by Vsevolod Pudovkin and Nikolai Shpikovsky, written by Nikolai Shpikovsky, 1925.
Vsevolod Pudovkin - 19 min
Also known as "Chess Fever". "With an international chess tournament in progress, a young man becomes completely obsessed with the game. His fiancée has no interest in it, and becomes frustrated and depressed by his neglect of her, but wherever she goes she finds that she cannot escape chess. On the brink of giving up, she meets the world champion, Capablanca himself, with interesting results." Directed by Vsevolod Pudovkin and Nikolai Shpikovsky, written by Nikolai Shpikovsky, 1925.
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Mother, Pudovkin
Dovzhenko, Earth
...
Post-Soviet : filmplus.org/kino [ list @ youtube.com/anatolant ]
