By Jeremy Hicks

Pioneer of political documentary and inventor of cinéma vérite, Dziga Vertov has exerted a decisive impact on administrators from Eisenstein to Godard. but his acceptance lengthy rested upon a lone masterpiece, 'Man with a film Camera'. lately, despite the fact that Vertov has all started to be acknowledged because the writer of a physique of leading edge and targeted movies and, as Jeremy Hicks argues, documentary as we all know it this day is unthinkable with no the rediscovery of Vertov. This, the 1st publication in English to hide the entire of Vertov’s profession, finds him to be an auteur, permitting readers to mix the frequent and no more wide-spread points of his filmmaking and pondering in a cohesive narrative.

Jeremy Hicks demonstrates how Vertov attracts on Soviet journalistic versions for his transformation of newsreel into the hot kind of documentary movie. via analyses of 'Cine-Pravda No 21' (Leninist Cine-Pravda), 'Cine-Eye', 'Forward Soviet!', 'A 6th a part of the Earth', 'The 11th Year', 'Man with a film Camera', 'Enthusiasm', 'Three Songs of Lenin', and 'Lullaby', he exhibits how Vertov’s maximum works mix genuine documentary photos ingeniously for great rhetorical impact.

Today, with the vigorous revival of curiosity in documentary movie, Vertov’s reflexive and openly partisan motion pictures are of serious relevance; yet they should be greater identified and understood. this can be the aim of 'Dziga Vertov - Defining Documentary Film'.

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Extra info for Dziga Vertov: Defining Documentary Film (KINO - The Russian Cinema)

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In fact, the film shows the various processes of labour involved in bread-making not just to pursue the apparently unmotivated thoughts of the Pioneer. Rather, it is an attempt to mark a contrast with the illusionistic entertainment of the magician, the end result of which is ‘to earn his daily bread’, and is expressed ‘in units of bread’. 68 Instead, Cine-Eye reveals that everyday life, the normal appearance of bread, masks the labour invested in it. The Pioneer’s diary indicates the beginnings of this analytical process, but Cine-Eye develops 20 DZIGA VERTOV it into an illustration of the Marxist view of commodities and the labour theory of value.

13 Use of the hidden camera [skrytaia s´´emka] is advocated elsewhere in the third instruction, V E RT OV A N D D O C U M E N TA RY T H E O RY 25 clearly illustrating that the two techniques were entirely different. Indeed, the ‘manual’ enumerates a number of ways in which the subjects can be photographed so as to minimise the role of performance. These are worth quoting in full: From the Cine-Eyes’ Field Manual General instructions for all techniques: the invisible cameras. 1. 2. 3. 4. 5. 6. 7.

While, like the Vertov group’s first feature, Cine-Eye, much of the material was shot by the Cine-Eyes themselves, Forward, Soviet! also employs the approach evident in the earlier compilation films (such as The History of the Civil War), where editing creates relations which may have no firm foundation in fact. It would seem that Vertov was determined to escape charges that the material was unstructured, the not entirely groundless criticism levelled at Cine-Eye. The result is a highly coherent narrative which uses a number of flashbacks from the normality of the present to the chaos of the civil war, contrasted with which even a flushing toilet seems a miraculous achievement.

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