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I am an eye. A mechanical eye. I am the machine that reveals the world to you as only the machine can see it. - Dziga Vertov (Kino-Eye")These words, written in 1923 (only a year after Robert Flaherty's Nanook of the North was released) reflect the Soviet pioneer's developing approach to cinema as an art form that shuns traditional or Western narrative in favor of images from real life. They lay the foundation for what would become the crux of Vertov's revolutionary, anti-bourgeois aesthetic wh

Pioneer of political documentary and inventor of cinema verite, Dziga Vertov has exerted a decisive influence on directors from Eisenstein to Godard. Yet his reputation long rested upon a lone masterpiece, 'Man with a Movie Camera'. Recently, however Vertov has begun to be recognised as the creator of a body of innovative and distinct films and, as Jeremy Hicks argues, documentary as we know it today is unthinkable without the rediscovery of Vertov. This, the first book in English to cover the whole of Vertov's career, reveals him to be an auteur, allowing readers to combine the familiar and less familiar aspects of his filmmaking and thinking in a cohesive narrative. Jeremy Hicks demonstrates how Vertov draws on Soviet journalistic models for his transformation of newsreel into the new form of documentary film. Through analyses of "Cine-Pravda No 21" (Leninist Cine-Pravda), "Cine-Eye", "Forward Soviet!", "A Sixth Part of the Earth", "The Eleventh Year", "Man with a Movie Camera", "Enthusiasm", "Three Songs of Lenin", and "Lullaby", he shows how Vertov's greatest works combine authentic documentary footage ingeniously for tremendous rhetorical effect.Today, with the energetic revival of interest in documentary film, Vertov's reflexive and overtly partisan films are of great relevance; but they need to be better known and understood. This is the purpose of "Dziga Vertov - Defining Documentary Film".

For the Russian filmmaker and film theorist Dziga Vertov (1896-1954), cinema was both a bold aesthetic experiment and a document of contemporary life. This English/German bilingual catalogue includes films, photographs, posters, letters and a large number of previously unpublished sketches, drawings, and writings.

With 365 calendar pages, Revolution Every Day juxtaposes Soviet graphic art―primarily posters from the 1920s and ‘30s, by artists such as Valentina Kulagina―with works on video and film, including excerpts from Dziga Vertov’s films, post-Soviet videos by artists such as Olga Chernysheva and more.

With 365 calendar pages, Revolution Every Day juxtaposes Soviet graphic art―primarily posters from the 1920s and ‘30s, by artists such as Valentina Kulagina―with works on video and film, including excerpts from Dziga Vertov’s films, post-Soviet videos by artists such as Olga Chernysheva and more.

If influence is the criterion for determining the significance of a film director, writes Russian film scholar Denise J. Youngblood, "then Fridrikh Ermler is perhaps the most important director in Soviet film history." Why he does not join the ranks of Eisenstein, Kuleshov, and Vertov as one of the great masters of Soviet filmmaking is unknown. Yet his legacy as an intricate craftsman of deceptively simple stories layered with psychological depth and technical proficiency lives on in his work.

Filmmaker Jean-Pierre Gorin, widely known for his early-seventies collaborations (including TOUT VA BIEN) with Jean-Luc Godard in the Dziga Vertov Group, established his singular voice with this trio of accomplished, fascinating, and nontraditional documentaries, made in Southern California after his relocation there. POTO AND BABENGO (1978) is a compelling visit with two young San Diego twins who have invented their own language. In ROUTINE PLEASURES (1986), Gorin conjoins the story of a group

Double vinyl LP pressing including digital download. 2003 release from the British Jazz and Electronic outfit formed by Jason Swinscoe. The album comprises the soundtrack to a re-released version of the then ground-breaking 1929 silent documentary film, Man with a Movie Camera from Russian director Dziga Vertov. The Cinematic Orchestra were commissioned to record the score to play as the opening event in Porto, Portugal's year as European Capital of Culture in 2001.

In Claiming the Real, Brian Winston rewrites the history of documentary film to take account of technological change. He subjects the great figures of the past--Grierson, Flaherty, Dziga-Vertov--to a searching critique, and examines both the principles and practice of the major movements in documentary such as cinema verité. He offers a revised definition of the essential difference between fiction and documentary, and identifies the ethical base of any film practice that attempts to capture "truth."

Dziga Vertov was one of the greatest innovators of Soviet cinema. The radical complexity of his work―in both sound and silent forms―has given it a central place within contemporary theoretical inquiry. Vertov's writings, collected here, range from calculated manifestos setting forth his heroic vision of film's potential to dark ruminations on the inactivity forced upon him by the bureaucratization of the Soviet state.

For the Russian filmmaker and film theorist Dziga Vertov (1896-1954), cinema was both a bold aesthetic experiment and a document of contemporary life. This English/German bilingual catalogue includes films, photographs, posters, letters and a large number of previously unpublished sketches, drawings, and writings.

The film theories of Jean Epstein, Dziga Vertov, Béla Balázs, and Siegfried Kracauer have long been studied separately from each other. In Doubting Vision, film scholar Malcolm Turvey argues that their work constitutes a distinct, hitherto neglected tradition, which he calls revelationism, and which differs in important ways from modernism and realism. For these four theorists and filmmakers, the cinema is an art of mass enlightenment because it escapes the limits of human sight and reveals the true nature of reality. Turvey provides a detailed exegesis of this tradition, pointing to its sources in Romanticism, the philosophy of Henri Bergson, modern science, and other intellectual currents. He also shows how profoundly it has influenced contemporary film theory by examining the work of psychoanalytical-semiotic theorists of the 1970s, Stanley Cavell, the modern-day followers of Kracauer and Walter Benjamin, and Gilles Deleuze. Throughout, Turvey offers a trenchant critique of revelationism and its descendants. Combining the close analysis of theoretical texts with the philosophical method of conceptual clarification pioneered by the later Wittgenstein, he shows how the arguments theorists and filmmakers have made about human vision and the cinema's revelatory powers often traffic in conceptual confusion. Having identified and extricated these confusions, Turvey builds on the work of Epstein, Vertov, Balazs, and Kracauer as well as contemporary philosophers of film to clarify some legitimate senses in which the cinema is a revelatory art using examples from the films of filmmakers such as Alfred Hitchcock and Jacques Tati.

Described by Dziga Vertov, it's director, as an experiment in the language of pure cinema, The Man With the Movie Camera is perhaps the most dazzling and sophisticated work not only of Soviet, but of world silent cinema. In part it is a city symphony, although it's urban landscape is actually a film synthesis of shots taken in Moscow, Kiev, Odessa and elsewhere. In part, it is a panorama of and a manifesto on the nature of socialist society in the late 1920s. But it is especially a revelation of