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2007 : tarkovsky.wetpaint.com *** [join] new 2006 : flickr.com/groups/film-art + cinema german, italian & frenchpages : SCRIPT
youtube.com/group/pomo
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’. [...]
film language lectures *
Tarkovsky, Orthodoxy, (Russian) Formalismtheory (Schklovsky, Jacobson, Lotman), and conceptualism (Moscow 1980s) ?
... "Film Form," again?
