1. Dziga Vertov 1.A Russian filmmaker of Montage movement
2. In1917, got into the Cinema Committee in Moscow and became an editor of newsreel “Film Weekly”.
3.Assembled incoming newsreels, fragments of events in meaningful organization
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2. 4. In 1922 he founded Film-Truth (Kino-Pravda)
Cinema on theatrical tradition
-foolishness
-“scabby substitute” for life
-a dangerous weapon controlled by capitalists
He urged Russian filmmakers
-Come to life
-stop running from “ the prose of life”
-craftsman of seeing-organizer of visible life
-armed with a “maturing eye”
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3. -staged action was abhorred -concealed camera to catch moments
Cinema
-must be based on truth
-staged action was abhorred
-concealed camera to catch moments
-fragments of actuality
-assembled for meaningful impact
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4. Cinema-Eye (kino eye) (1)Superhuman versatility of the film camera
(2) See and record impressions in a way different from the human eye
(3) The cinema-eye can work and move in time and in space
(4) Show the audience a world such as only the filmmaker can see
(5)We cannot not improve our eyes, but we can always improve the camera
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5. Man with a Movie Camera(1929)
(1)records a daily life in the Soviet Union
(2) presents constant glimpses of a film cameraman in action
-through-the –camera view of a passerby
-see him reacting to the camera
-we see the camera as seen by him
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6. –a woman washing at her washbowl V.S. window-washing shots
3.Editing
Parallel shots
–a woman washing at her washbowl V.S. window-washing shots
-intercut A wedding, a death, a birth
4. Camera tricks
-frozen frame
-superimposure
-stop motion: camera putting itself together and walking
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7. Styles 1. Highly Expressive 2. Artificiality is deliberate
3. Avant-grade : suppress illusion
->heightened awareness
4. A self-defined film, an essay on film truth
5. The film reminds us that it is a film
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