Cheap Chelovek S Kinoapparatom (Video) (Dziga Vertov) Price
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| CATEGORY: | Video |
| DIRECTOR: | Dziga Vertov |
| THEATRICAL RELEASE DATE: | 01 January, 1929 |
| MANUFACTURER: | Kino International |
| MPAA RATING: | NR (Not Rated) |
| FEATURES: | Black & White, NTSC |
| TYPE: | Foreign Film - Russian |
| MEDIA: | VHS Tape |
| # OF MEDIA: | 1 |
| UPC: | 738329044435 |
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Customer Reviews of Chelovek S Kinoapparatom
and 5 more Vertov's _Man with a Movie Camera_ is not only the hallmark of Russian Constructivist film but one of the greatest films ever made, no hyperbole intended. Vertov's main premise was to create a new city, an Utopian ideal, through montage and editing. The scenes in the film are taken from footage of the three Russian cities of Kiev, Moscow and Odessa.
Unlike many of the other reviewers, I would have to suggest watching the film with the sound off (at least once.) The music, although originally composed by Vertov, has been adapted more recently by the Alloy Orchestra, and can have the tendency to be a distraction. Indeed, Vertov stated that film should be a medium that stands alone, not muddled by the addition of psychology, romance, or music. He placed tremendous value on the camera's ability to distill truth from visual "garbage," with what he termed "Kino-Eye" or "Truth-Eye."
Additionally, I would recommend reading Vlada Petric's meticulous still-by-still dissection of the film---_Constructivism in Film : The Man With the Movie Camera : A Cinematic Analysis (Cambridge Studies in Film)_, as well as Andrei Bely's novel _Petersburg_, which Nabokov cited as one of the four most important literary works of the 20th century and deals in part with a similar urban improvement motif, and of course Vertov's own theoretical writings _Kino-Eye: The Writings of Dziga Vertov_.
A uniquely fascinating 1929 Soviet 'documentary'.
I was curious to see "Man With the Movie Camera" ever since reading 'Kino-Eye', the director's rather bombastic manifesto about the virtues of nonfiction film making. Soon after the DVD was released, I ordered it online. I was not at all disappointed upon satisfaction of my curiosity.
The film is all montage, not story or lecturing, and makes a fetish of modernization and industrialization. It derives its power from the pure artistry of editing, from the rapid justaposition of images and of snippets of action from everyday life.
There's something about the total effect of Dziga Vertov's film, its zestful "sense of life", its manic energy, that may especially (and very surprisingly) appeal to fans of Ayn Rand, the anti-Soviet novelist who left the USSR for the USA during the mid-1920s and who went on to eventually write Atlas Shrugged.
It's interesting that Vertov is considered one of the trailblazers of cinema verite, the recording of the quotidian as-it-happens, whereas his film is actually a collage of kinetic images symphonically woven into an architechtonic whole of visual and spirtual unity. A product of organizing intellect, not mere assemblage, his documentary does not so much 'document' as utterly transform -- it is not so much true-to-life as true-to-vision.
Obviously inspired Reggio and Fricke
If you're a fan of Godfrey Reggio and Ron Fricke's the Koyaanisqatsi, Powaqqatsi, Naqoyatsi trio or the even more narrative-driven Baraka (Fricke), this hugely innovative, groundbreaking film is a MUST-SEE. You'll be amazed at the sort of filming and editing techniques these guys (and girl) employ during that period of time-- especially in comparison to what American cinema was like at the time.