The Writings of Dziga Vertov. EDITED AND WITH AN INTBODUCTION BY. Annette Michelson. TBANSLATED BY. Kevin O'Brien. Uniyersiry ol Californid Press. Dziga Vertov the documentary film-maker, rather than Vertov the. INTRODUCTION .. journalist Cine-Eye is an attempt to create a manifesto for a grassroots. WE: VARIANT OF A MANIFESTO. We call ourselves kinoks—as Kinoglaz (" Kino-Eye") is the name Vertov gave to the movement and group of which he is the . pose, first and foremost, kinok Dziga Vertov is directed, in accordance with party.
|Language:||English, Spanish, Indonesian|
|Genre:||Business & Career|
|ePub File Size:||28.46 MB|
|PDF File Size:||18.38 MB|
|Distribution:||Free* [*Register to download]|
THE 'WRITINGS OF DZ/GA VERTOV. From Articles, Public Addresses. WE: Variant of a Manifesto, 5. The Fifth issue of Kíriopravda, Kinoks: A Revolution, File:Vertov Dziga We Variant of a echecs16.info echecs16.info (file size: MB, . what in art they have lost /orever. Dziga Vertov: We. А Version of а Manifesto. Source: D. Vertov, 'Му. Variant manifesta', Кino-Fot, по. 1, August
Posted by: Carlene Faith in Uncategorized , Vertov Response When I had first learned that we would be doing a few readings by Dziga Vertov, my first thought was who is this guy and why is he so important? After reading a few of his manifestos, I am realizing just home important he and his thoughts are. Vertov was a documentary and newsreel director who is also looked at as a cinema theorist. I really find what he has to say interesting and intriguing, especially the way they are presented to us in such short precious sentences like little thoughts jotted down on a piece of paper. I think that the first thing that stuck out to me was the structure of this reading its very well planned out, it even has subtitles which point out other pieces of evidence that support his claims on film truth and newsreels in general. The manifesto starts out with Vertov talking to us, the filmmakers, the audiences, the proprietors, the people stuck with memories and the waiters, he speaks to us saying open your eyes to whats around you, look at the sensations of cinema going threw a revolution!
The cult of film gauge dominated even independent film production. The rich image established its own set of hierarchies, with new technologies offering more and more possibilities to creatively degrade it. Resurrection as Poor Images But insisting on rich images also had more serious consequences.
A speaker at a recent conference on the film essay refused to show clips from a piece by Humphrey Jennings because no proper film projection was available. In this case the invisibility of the image was more or less voluntary and based on aesthetic premises.
But it has a much more general equivalent based on the consequences of neoliberal policies. Twenty or even thirty years ago, the neoliberal restructuring of media production began slowly obscuring non-commercial imagery, to the point where experimental and essayistic cinema became almost invisible.
As it became prohibitively expensive to keep these works circulating in cinemas, so were they also deemed too marginal to be broadcast on television. Thus they slowly disappeared not just from cinemas, but from the public sphere as well. Video essays and experimental films remained for the most part unseen save for some rare screenings in metropolitan film museums or film clubs, projected in their original resolution before disappearing again into the darkness of the archive.
This development was of course connected to the neoliberal radicalization of the concept of culture as commodity, to the commercialization of cinema, its dispersion into multiplexes, and the marginalization of independent filmmaking.
It was also connected to the restructuring of global media industries and the establishment of monopolies over the audiovisual in certain countries or territories.
In this way, resistant or non-conformist visual matter disappeared from the surface into an underground of alternative archives and collections, kept alive only by a network of committed organizations and individuals, who would circulate bootlegged VHS copies amongst themselves.
Sources for these were extremely rare—tapes moved from hand to hand, depending on word of mouth, within circles of friends and colleagues.
With the possibility to stream video online, this condition started to dramatically change. An increasing number of rare materials reappeared on publicly accessible platforms, some of them carefully curated Ubuweb and some just a pile of stuff YouTube. If you want a retrospective, you can have it.
But the economy of poor images is about more than just downloads: you can keep the files, watch them again, even reedit or improve them if you think it necessary.
And the results circulate. Clandestine cell-phone videos smuggled out of museums are broadcast on YouTube. Whether they like it or not. Privatization and Piracy That rare prints of militant, experimental, and classical works of cinema as well as video art reappear as poor images is significant on another level.
Their situation reveals much more than the content or appearance of the images themselves: it also reveals the conditions of their marginalization, the constellation of social forces leading to their online circulation as poor images. Their lack of resolution attests to their appropriation and displacement.
While some nation states are dismantled or fall apart, new cultures and traditions are invented and new histories created. This obviously also affects film archives—in many cases, a whole heritage of film prints is left without its supporting framework of national culture.
As I once observed in the case of a film museum in Sarajevo, the national archive can find its next life in the form of a video-rental store. On the other hand, even the British Library sells off its contents online at astronomical prices.
But, on the other hand, the rampant privatization of intellectual content, along with online marketing and commodification, also enable piracy and appropriation; it gives rise to the circulation of poor images.
It merges art with life and science, blurring the distinction between consumer and producer, audience and author. It insists upon its own imperfection, is popular but not consumerist, committed without becoming bureaucratic. In his manifesto, Espinosa also reflects on the promises of new media.
He clearly predicts that the development of video technology will jeopardize the elitist position of traditional filmmakers and enable some sort of mass film production: an art of the people. Like the economy of poor images, imperfect cinema diminishes the distinctions between author and audience and merges life and art. Most of all, its visuality is resolutely compromised: blurred, amateurish, and full of artifacts.
In some way, the economy of poor images corresponds to the description of imperfect cinema, while the description of perfect cinema represents rather the concept of cinema as a flagship store. But the real and contemporary imperfect cinema is also much more ambivalent and affective than Espinosa had anticipated.
Dziga said, "This dampness prevented our reels of lovingly edited film from sticking together properly, rusted our scissors and our splicers. In the Kino-Pravda series, Vertov focused on everyday experiences, eschewing bourgeois concerns and filming marketplaces, bars, and schools instead, sometimes with a hidden camera, without asking permission first. Usually, the episodes of Kino-Pravda did not include reenactments or stagings.
One exception is the segment about the trial of the Social Revolutionaries : the scenes of the selling of the newspapers on the streets and the people reading the papers in the trolley were both staged for the camera. The cinematography is simple, functional, unelaborate—perhaps a result of Vertov's disinterest in both "beauty" and the "grandeur of fiction".
Twenty-three issues of the series were produced over a period of three years; each issue lasted about twenty minutes and usually covered three topics. Propagandistic tendencies are also present, but with more subtlety, in the episode featuring the construction of an airport: one shot shows the former Tsar 's tanks helping prepare a foundation, with an intertitle reading "Tanks on the labor front".
Vertov clearly intended an active relationship with his audience in the series—in the final segment he includes contact information—but by the 14th episode the series had become so experimental that some critics dismissed Vertov's efforts as "insane". Vertov responds to their criticisms with the assertion that the critics were hacks nipping "revolutionary effort" in the bud, and concludes the essay with his promise to "explode art's tower of Babel " . In Vertov's view, "art's tower of Babel" was the subservience of cinematic technique to narrative, commonly known as the Institutional Mode of Representation.
By this point in his career, Vertov was clearly and emphatically dissatisfied with narrative tradition, and expresses his hostility towards dramatic fiction of any kind both openly and repeatedly; he regarded drama as another "opiate of the masses".
Vertov freely admitted one criticism leveled at his efforts on the Kino-Pravda series—that the series, while influential, had a limited release. By the end of the Kino-Pravda series, Vertov made liberal use of stop motion , freeze frames , and other cinematic "artificialities", giving rise to criticisms not just of his trenchant dogmatism, but also of his cinematic technique. Vertov explains himself in "On 'Kinopravda' ": in editing "chance film clippings" together for the Kino-Nedelia series, he "began to doubt the necessity of a literary connection between individual visual elements spliced together This work served as the point of departure for 'Kinopravda' " .
Towards the end of the same essay, Vertov mentions an upcoming project which seems likely to be Man with the Movie Camera , calling it an "experimental film" made without a scenario; just three paragraphs above, Vertov mentions a scene from Kino Pravda which should be quite familiar to viewers of Man with the Movie Camera: the peasant works, and so does the urban woman, and so too, the woman film editor selecting the negative By this time Vertov had been using his newsreel series as a pedestal to vilify dramatic fiction for several years; he continued his criticisms even after the warm reception of Sergei Eisenstein 's Battleship Potemkin Potemkin was a heavily fictionalized film telling the story of a mutiny on a battleship which came about as a result of the sailors' mistreatment; the film was an obvious but skillful propaganda piece glorifying the proletariat.
Vertov lost his job at Sovkino in January , possibly as a result of criticizing a film which effectively preaches the line of the Communist Party. He was fired for making A Sixth Part of the World: Advertising and the Soviet Universe for the State Trade Organization into a propaganda film, selling the Soviet as an advanced society under the NEP, instead of showing how they fit into the world economy. Vertov says in his essay "The Man with a Movie Camera" that he was fighting "for a decisive cleaning up of film-language, for its complete separation from the language of theater and literature" .
Some have criticized the obvious stagings in this film as being at odds with Vertov's credos of "life as it is" and "life caught unawares": the scene of the woman getting out of bed and getting dressed is obviously staged, as is the reversed shot of the chess pieces being pushed off a chess board and the tracking shot that films Mikhail Kaufman riding in a car filming a third car.
However, Vertov's two credos, often used interchangeably, are in fact distinct, as Yuri Tsivian comments in the commentary track on the DVD for Man with the Movie Camera: for Vertov, "life as it is" means to record life as it would be without the camera present.
All of these shots might conform to Vertov's credo "caught unawares". His slow motion, fast motion, and other camera techniques were a way to dissect the image, Mikhail Kaufman stated in an interview. Vertov believes that this technique develops and trains audiences' perception skills: I make the viewer see in the manner best suited to my presentation of this or that visual phenomenon. The eye submits to the will of the camera and is directed by it to those successive points of the action that, most succinctly and vividly, bring the film phrase to the height or depth of resolution Kino-Eye For Vertov, there is no need for a pre-written script and, ideally, no excuse for disrupting the scenes unfolding in front of the camera.
On other occasions, it seems to be not a right but a responsibility of the cameraman to take the camera to sites such as smokestacks, furnaces, cranes or mines, and to face an approaching train or dodge busy city traffic.
The cameraman has to have the ability to follow the natural pace of life. The kino-oko watches the cameraman work still and in motion, in different speeds, angles and intervals. We see him pan motorcycles moving past him from a stationary position or ride on a convertible to stay with the moving subjects.
The editor then changes frequency of cutting to further enhance the experience of speed. For example, the beginning of the film within the film introduces its characters — people, machines, the city — as they wake up and continue their life cycles and everyday events.
The following passages gradually speed up both in the content of footage and the frequency of cutting and escalate to several climaxes throughout the film. He layers, crosscuts and tilts the film to create special effects and enhance the narrative. He consistently uses the camera's full potential, and carefully select the right feature for individual subject: fast panning or cutting when evoking high pace work, development, growth , slow motion to understand human and animal body in motion, stopping, tracking and handheld movement.
In another scene, the editor is a magician of sorts, bringing the film alive for fascinated audience to watch in the theatre. Vertov resents fiction film genres and fake romanticism that drive mankind to lust for wealth and comfort.
He draws on the values of realism; instead of feeding the audience and the society with apparently artificial emotion, he sets the man in motion, to make him physically and mentally active and equal to the machine, to make him the new man. Man with a Movie Camera captures work, production, activity and enthusiasm.