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Dziga and Vertov
# REDIRECT Dziga Vertov
# REDIRECT Dziga Vertov
David Abelevich Kaufman () ( 2 January 1896 – 12 February 1954 ) — better known by his pseudonym Dziga Vertov, or Vertof (, " spinning top ")was a Soviet pioneer documentary film, newsreel director and cinema theorist.
His filming practices and theories influenced the cinéma vérité style of documentary moviemaking and the Dziga Vertov Group, a radical filmmaking cooperative which was active in the 1960s.
He eventually adopted the name " Dziga Vertov ", which translates loosely as ' spinning top '.
" Cine-Eye " is a montage method developed by Dziga Vertov which was first formulated in his work " WE: Variant of a Manifesto " in 1919.
Dziga Vertov believed his concept of Kino-Glaz, or " Cine Eye " in English, would help contemporary man evolve from a flawed creature into a higher, more precise form.
Dziga Vertov died of cancer in 1954, after surviving, unscathed, Stalin's purges.
The Dziga Vertov Group borrowed his name.
In 1962, the first Soviet monograph on Vertov was published, followed by another collection, ' Dziga Vertov: Articles, Diaries, Projects.
"- Dziga Vertov
" Evolution of style in the early work of Dziga Vertov.
" Lines of resistance: Dziga Vertov and the twenties / edited and with an introduction by Yuri Tsivian.
Dziga Vertov: Defining Documentary Film.
* Thomas Tode, Barbara Wurm, Austrian Film Museum eds. Dziga Vertov.
Lines of Resistance: Dziga Vertov and the Twenties.
* Dziga Vertov.
Kino-Eye: The Writings of Dziga Vertov, University of California Press, 1995.
* Dziga Vertov.
* Senses Of Cinema: Dziga Vertov
cs: Dziga Vertov
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eu: Dziga Vertov

Dziga and was
I, a machine, I am showing you a world, the likes of which only I can see " Dziga was quoted as saying.
Around this time he was involved in the creation of the Filmliga based in Amsterdam which drew foreign filmmakers to Holland such as Alberto Cavalcanti, René Clair, Sergei Eisenstein, Vsevolod Pudovkin, and Dziga Vertov who also became his friends.
Eisenstein's first film, Glumov's Diary ( for the theatre production Wiseman ), was also made in that same year with Dziga Vertov hired initially as an " instructor.
Kino-Pravda (" Film Truth ") was a newsreel series by Dziga Vertov, Elizaveta Svilova, and Mikhail Kaufman.
He was deeply influenced by the ideas and practice of the film-maker Dziga Vertov, with whom he worked intensively in 1922.

Dziga and Soviet
In this regard, Grierson's definition of documentary as " creative treatment of actuality " has gained some acceptance, with this position at variance with Soviet film-maker Dziga Vertov's provocation to present " life as it is " ( that is, life filmed surreptitiously ) and " life caught unawares " ( life provoked or surprised by the camera ).
The Soviet Union's robust film industry came out with its first sound features in December 1930: Dziga Vertov's nonfiction Entuziazm had an experimental, dialogueless soundtrack ; Abram Room's documentary Plan velikikh rabot ( The Plan of the Great Works ) had music and spoken voiceovers.
* Dziga Vertov ( 1896 – 1954 ), Soviet filmmaker-experimenter
The montage experiments carried out by Kuleshov in the late 1910s and early 1920s formed the theoretical basis of Soviet montage cinema, culminating in the famous films of the late 1920s by directors such as Sergei Eisenstein, Vsevolod Pudovkin and Dziga Vertov, among others.

Dziga and Kino-Pravda
Dziga Vertov's newsreel series Kino-Pravda, the best known of these, lasted from 1922 to 1925 and had a propagandistic bent ; Vertov used the series to promote socialist realism but also to experiment with cinema.
* Kino-Pravda (" Film Truth "), a newsreel series by Dziga Vertov, Elizaveta Svilova, and Mikhail Kaufman

Dziga and series
In 1968, Gorin and Godard founded the collective Dziga Vertov Group and together produced a series of overtly political films including Vent d ' est ( 1970 ), Tout va bien ( 1972 ), and Letter to Jane ( 1972 ).

Dziga and 1920s
The development of Russian cinema in the 1920s by such filmmakers as Dziga Vertov and Sergei Eisenstein saw considerable progress in the use of the motion picture as a propaganda tool, yet it also served to develop the art of moviemaking.

Dziga and .
The continental, or realist, tradition focused on humans within human-made environments, and included the so-called " city symphony " films such as Walter Ruttmann's Berlin, Symphony of a City ( of which Grierson noted in an article that Berlin represented what a documentary should not be ), Alberto Cavalcanti's Rien que les heures, and Dziga Vertov's Man with the Movie Camera.
Dziga said, " This dampness prevented our reels of lovingly edited film from sticking together properly, rusted our scissors and our splicers.
" Our Eyes, Spinning Like Propellers: Wheel of Life, Curve of Velocities, and Dziga Vertov's Theory of the Interval.
"' Peace between Man and Machine ': Dziga Vertov's The Man with a Movie Camera.
* Dziga Vertov's Man with the Movie Camera DVD, audio commentary track by Yuri Tsivian.
It largely evolved from the works of directors like Germaine Dulac, Louis Delluc, Jean Epstein, Sergei Eisenstein, Lev Kuleshov, and Dziga Vertov and film theorists like Rudolf Arnheim, Béla Balázs and Siegfried Kracauer.

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