Vertov was one of the most important Soviet filmmakers and a reference to the cultural avant garde
proclaimed it "the movie Yesterday and today is a matter solely commercial. The development of the film is dictated only by the profit motive "or" The film drama is the opium of the people. Down with the bourgeois myths and live life as it is! "Would pass as reflections radical and subversive if they say now but curiously are expressed during the early decades of the twentieth century.
Its author was Dziga Vertov, star of "Memoirs of a filmmaker Bolshevik" recently released by the publisher and Captain Swing is a perfect excuse to come to one of the most important Soviet filmmakers and influential throughout history, especially but not only, in the cultural avant garde.
Born with the name of Denis Abramovich Kaufman in Poland in 1896 devoted his studies to music influence in any part of his film career, and later to medicine. During those years she has been writing both poetry and novel. Influenced by Futurism adopt the pseudonym Dziga Vertov ("Turn top" in Ukrainian) which will be from that time known ...
Shortly before the start of the Russian revolution devotes his time to the "laboratory of hearing" where he makes music with sounds and experimenting with sound recordings, giving evidence, and since then by his taste for the assembly, and their main feature Soviet cinema all those years. The Bolshevik victory brings an era of artistic growth in all fields and film is no exception, On the contrary, an art that is a newborn knows its importance to show the birth of a new society and there is a whole group of filmmakers, including those found Sergei Eisenstein, Dziga Vertov, Esfira Shub, L. Vsevolod Pudovkin and Kuleshov, who will do so.
Vertov In 1918 he joined the Moscow Film Committee and directs Kinonedelija (film-week), the first newspaper on the current film. It is also responsible for organizing the work of the operators on the frontlines of the civil war and shape the resulting material recorded works such as "Fighting to Tsaritsyn." He also traveled on the train called propaganda (agit prop) that were broadcast several works of art that glossed the virtues of the revolution as is the case with "The train Lenin."
for several years carried out the project Kino-Pravda (film truth) with which manages several reports in the form of a newscast in which he shows the changes that are occurring in Russian society. He uses his camera in all possible locations for filming reality as it happens and then shape during assembly. Is the time when the public makes many manifestos in which he explains his conception of cinema, which banishes all artificial (no actors, no sets, no dashes). His first film as such is "Kino Glaz (Cinema eye), referring to his theory of the same name and the group formed (Kinoks). It shows all these characteristics, highly realistic recording of the work of different workers' unions, opposed the new to the old teaching that human beings are the creators of the materials and therefore their owners. A clear demonstration of the role that gave the Vertov film and was none other than document and support the values \u200b\u200bof socialism.
But his theories were not entirely well understood by some artists closer to him as the legendary Sergei Eisenstein, with whom he exchanged statements and a tough debate. The differences between them can be summarized in the sense that each gave the assembly. Vertov understood as the method for joining the already filmed, the technique came from the unit itself (the camera) when recording. Another sense it was Eisenstein who thought that this was the time to create the drama and the message for the viewer. Seen today, and to paraphrase Jean-Luc Godard, the two never cease to be the two hands of one body.
His fundamental work and where he developed his ideas in full was "camera man", a representation of what is often called the "film within a film" showing the recording mode, the actual "history" and its presentation to the public. Using the daily activities that were given in Leningrad represents the power of the camera, getting to all sites and observing everything that the human eye can not. This is a completely revolutionary work in every sense of the word, even when viewed today. Use all resources, both technical, overlapping frames, reverse, minced, and even the animation angle shot (at the time that a camera becomes like a robot), as in a symbolic and poetic meaning, the " awakening "of the city appears next to a young woman who starts his day. The film in short is a compendium of the various tasks and actions, including the film, which form the passage of cities and their common future as clear in the scene where two women drink coffee on a mural that reads "Employees of the world unite. "
Its sound season will be just as imaginative and surprising. His first film, "Enthusiasm, Symphony of the Donbass", praised by Charles Chaplin himself, again focuses on the daily life of a city but in this case will focus on the sounds off, especially industrial, film set the pace of the work. "Three songs Lenin "meant one of his latest film projects, from that time his stature would be relegated to routine work, and perhaps one of the most surprising. Created as a tribute to the tenth anniversary of the death of Soviet leader, mixing archival footage (some unpublished) with the recording of the work of several strata of society (women, workers ..) that with the advent of communism have been released. All supported by the popular songs that originated in the Asian region.
Vertov was not only one of the most talented Soviet filmmakers, innovation and quality, was also the example, together with other filmmakers the same time that cinema can be a far-reaching political weapon. Also the director has been a major influence on the documentary and movements varied cultural / artistic, some more obvious, such as the American experimental cinema, cinéma vérité, the Situationist International or different filmmakers like Jean-Luc Godard came to Dziga Vertov create the group, or unclassifiable directors as Luis Bunuel, Jean Vigo, Walter Ruttman or more current and Martin Scorsese. Taken
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