Les activités de Jean Rouch, animateur du Comité international du film ethnographique, soutenues par l'Unesco, sont peu connues (1955-1973). Grâce à ces initiatives, les premiers anthropologues ...cinéastes ont pu montrer leurs films et en débattre à Paris, Bruxelles, Prague, Venise, Florence, Locarno. Jean Rouch fut avec le sociologue Edgar Morin (avec qui il réalisa le film Chronique d'un été), l'un des fondateurs du festival des Peuples (Florence) entièrement consacré aux films ethnographiques et sociologiques. Dans cet article, Luc de Heusch, intimement associé à Jean Rouch au cours de cette aventure, raconte les péripéties qui ont entouré la naissance de l'anthropologie visuelle. /// Jean Rouch's activities (1955-1973), with UNESCO's backing, in the Comité international du film ethnographique are not well known. Thanks to his initiatives, the first film-making anthropologists were able to show their work and discuss it in Paris, Brussels, Prague, Venice, Florence and Locarno. Along with the sociologist Edgar Morin (with whom he made Chronique d'un été), Rouch helped found the Festival of Peoples (Florence), devoted to anthropological and sociological films. Closely associated with Rouch during this venture, Luc de Heusch recalls the happenings that surrounded the birth of visual anthropology.
What has all this to do with Vertov and documentary? It may be suggestive that "sublime" is a term sometimes used to evoke Vertov's films. One can find this characterization in such different ...commentators as the metaphysician Deleuze21 and the film scholar John McKay.
A notably early example of a developed theorization of television, "Currents in art and the Radio-Eye" was written during the period of the initial successful experiments in the transmission of ...moving images, and published in Russian in the Soviet youth journal Young Guard in Jul 1925. The essay's author, Aleksander Viliamovich Fevralsky, was a prominent Soviet journalist and critic known for his writing in Pravda and for his authoritative contributions on Soviet theater history. His affiliation with the 1920s Soviet avant-garde is apparent in the tenor of his essay, and is prominent in shaping his views on the emerging technology of television. Most notably, as the familiar term in the essay's title suggests, Fevralsky's conception of the characteristics and potential of television was inspired by Dziga Vertov's notion of the "Radio Eye." Here, Galili discusses how Fevralsky established a Soviet television practice, which is based on Vertov's method of filmmaking.
Sheehan utilizes "montage theory," which is associated most often with the Soviet Russian filmmakers of the 1920s and 1930s. Sergei Eisenstein's theories are extremely valuable for a study of James ...Joyce, not the least because he was in awe of Joyce and met him at least once. Sheehan argues, however, that Dziga Vertov's work is actually closer to the aesthetic practices of Joyce because his montage is freer and more open than Einstein's.
Nesbet describes Dziga Vertov's Man with a Movie Camera, the centerpiece of the 23rd Pordenone Silent Film Festival. She claims that if Man with a Movie Camera remains an outlier in Dziga Vertov's ...oeuvre, it is rivalled in interest by a number of more rarely seen and more overtly political films.
VERTOV AFTER MANOVICH FELDMAN, SETH
Canadian journal of film studies,
04/2007, Volume:
16, Issue:
1
Journal Article
Peer reviewed
Étudier Dziga Vertov c'est le ré-inventer : comme icône de la réforme au cours du « dégel » de la période Khrouchtchev; comme précurseur du cinéma vérité; comme incarnation du constructivisme ...soviétique; comme porte-étendard du cinéma politique; comme illustration des contradictions internes de la révolution soviétique; comme pilier de l'avant garde. Pour sa part, Lev Manovich, dans The Language of New Media, confère à L'homme à la caméra de Vertov le statut d'antécédent des médias digitaux, ayant engendré tous les concepts qui allaient façonner les nouvelles technologies. Cet articles propose de renverser la filiation établie par Manovich et d'utiliser le « langage des nouveaux médias » pour mieux comprendre l'œuvre de Vertov.
Numero speciale della nota serie cinematografica d'attualità russa "Kino-Pravda" - diretta da Dziga Vertov - girato per commemorare il primo anniversario della morte di Lenin
1 - p.p.di un lavoratore ...russo
2 - un lavoratore in fabbrica
3 - particolari dei macchinari
4 - p.p. di un lavoratore russo che parla verso la cinepresa
5 - una lapide commemorativa presso una cittadina russa in pieno inverno
6 - p.p. del lavoratore russo che continua a parlare
7 - Lenin parla con un suo stretto collaboratore (Kamenev?)
8 - immagini di Lenin datate 1918
9 - sbarco a terra di soldati dell'Armata Rossa
10 - truppe sovietiche in treno
11 - un discorso di Lenin nella Piazza Rossa con sullo sfondo le torri della chiesa di San Basilio
12 - avanzata della cavalleria bolscevica
13 - cartina che illustra l'avanzata delle forze bolsceviche
14 - sfila la fanteria e la cavalleria bolscevica
15 - Lenin parla ai lavoratori
16 - discorso di Lenin al popolo
17 - Lenin parla davanti all'Assemblea Nazionale
18 - immagini e sfilate di bambini in una cittadina russa
19 - panoramica su una piazza piena di folla
20 - macchine agricole arano il terreno
21 - altre immagini di folla in una piazza
22 - discorso di Lenin al popolo
23 - immagini di un ponte distrutto
24 - 1921
25 - Lenin durante un suo discorso
26 - una contadina al lavoro
27 - l'arrivo di un treno
28 - contadina semina un terreno
29 - altre immagini di Lenin in un discorso
30 - ammassi di persone massacrate
31 - Lenin ripreso in un altro suo discorso pubblico
32 - trattori che arano terreni
33 - un villaggio di contadini
34 - lavori sulle reti elettriche
35 - interni di una casa
36 - p.p. di un'anziana signora
37 - 1922
38 - p.p. di Lenin
39 - viene mostrato un telegramma
40 - folla per le strade
41 - disegno animato che raffigura Lenin con il viso che assume varie espressioni
42 - corteo di persone
43 - sfila una banda musicale
44 - altre immagini di un corteo che sfila
45 - p.p. di un lavoratore in fabbrica
46 - immagini del lavoro in fabbrica
47 - la cabina di comando con un lavoratore che aziona una gru
48 - folla presente ai funerali di Lenin
49 - p.p. delle spoglie del leader sovietico
50 - folla di persone in fila per rendere l'ultimo saluto a Lenin
51 - scorre un immagine di Lenin durante un suo discorso
52 - altre immagini della folla con p.p. di alcune donne
53 - gruppo di bambini
54 - riunione di lavoratori
55 - folla di persone riunite per assistere ad un discorso di un politico in una provincia asiatica dell'Unione Sovietica
56 - viene mostrato un telegramma
57 - la gente applaude il discorso
58 - didascalie con alcuni grafici indicanti date e condizioni climatiche
59 - altre immagini del cordoglio della gente intorno alle spoglie di Lenin
60 - la gente passa in fila intorno alla bara
61 - p.p. delle spoglie del leader politico
62 - la processione ininterrotta della gente
63 - il pianto delle persone
64 - p.p. di alcune personalità politiche presenti tra cui Stalin, Kalinin, Voroscilov, Budienyi
65 - prosegue il corteo di persone che sfila davanti alla bara di Lenin intervallate dal p.p. delle spoglie dell'uomo politico
66 - carrellata sui volti di alcune persone presenti
67 - sfila una banda musicale
68 - p.p. di alcune donne
69 - altre immagini delle persone che passano davanti alle spoglie di Lenin
5 - a memorial plaque at a Russian township in the middle of winter.
31 - Lenin resumed in another public address of his
9 - landing on the ground of red army soldiers
8 - images of Lenin dated 1918
68 - p.p. of some women
67 - he parades a musical band
63 - the crying of people
62 - the people's uninterrupted procession
61 - p.p. of the remains of the political leader
60 - people row around the coffin
57 - people applaud the speech
56 - a telegram is shown
54 - workers' meeting
53 - group of children
49 - p.p. of the remains of the Soviet leader
48 - crowd present at Lenin's funeral
46 - images of factory work
45 - p.p. of a factory worker
44 - other images of a parade that parades
43 - challenge a musical band
42 - parade of people
40 - crowd in the streets
39 - a telegram is shown
52 - other images of the crowd with p.p. of some women
38 - p.p. of Lenin
37 - 1922
36 - p.p. of an elderly Mrs.
35 - interior of a house
34 - work on electrical networks
33 - a village of peasants
55 - crowd of people gathered to attend a speech by a politician in an Asian province of the Soviet Union
41 - animated drawing depicting Lenin with his face taking on various expressions
Special issue of the well-known Russian topical film series\ "Kino-Pravda\" - directed by Dziga Vertov - filmed to commemorate the first anniversary of Lenin's death
7 - Lenin talks to a close collaborator of his (Kamenev?)
59 - other images of the condolences of the people around Lenin's remains
66 - rundown on the faces of some people present
47 - the control cabin with a worker operating a crane
69 - more pictures of people passing in front of Lenin's remains
6 - p.p. of the Russian worker who continues to speak
4 - p.p. of a Russian worker speaking towards the camera
58 - captions with some graphs indicating dates and climatic conditions
18 - pictures and parades of children in a Russian town
11 - a speech by Lenin in the red square with in the background the towers of the church of San Basilio
32 - tractors that plow land
30 - clusters of people massacred
3 - details of the machinery
29 - more pictures of Lenin in a speech
28 - peasant sows land
27 - the arrival of a train
26 - a peasant at work
25 - Lenin during his speech
24 - 1921
23 - images of a destroyed bridge
22 - Lenin's speech to the people
21 - more crowd images in a square
20 - agricultural machinery plows the ground
2 - a factory worker
19 - overview of a square full of crowds
17 - Lenin speaks before the national Assembly
16 - Lenin's speech to the people
15 - Lenin speaks to the workers
14 - it parades the infantry and the Bolshevik cavalry
12 - advanced of the Bolshevik cavalry
10 - Soviet troops by train
1 - p.p.of a Russian worker
64 - p.p. of some political personalities present including Stalin, Kalinin, Voroscilov, Budienyi
65 - continues the procession of people who parade in front of Lenin's coffin interspersed by the P. of the remains of the political man
50 - crowd of people lined up to make the last greeting to Lenin
13 - map illustrating the advance of Bolshevik forces
51 - an image of Lenin flows during his speech
Previous interpreters of Dziga Vertov's "Three Songs of Lenin" (1934; reedited in 1938 and 1970) have tended to read the film as either a drastic and regrettable break with his experimental practice ...of the 1920s, or (more rarely) as a grand summation of many aspects of that practice. Both readings have assumed that the figure of Joseph Stalin was essentially absent from the original 1934 version, while offering different reasons for that presumed absence. The present essay argues for a different reading of the film, one that takes into account both the continuities and discontinuities between Vertov's documentary practice in the early 1930s, and (as archival research reveals) Stalin's thoroughgoing onscreen presence in the original film. The 1934 "Three Songs of Lenin" was Vertov's most successful attempt to make his constructivist concerns with material change and motion cohere with the new Stalinist cultural order, specifically by recoding those concerns in terms of the value now placed on "individual experience" and "folk creativity".
Dziga Vertov's "The Man With a Movie Camera" has a quality to it that viewers can take in the unexpected aspect of it, no matter how many times it is seen. Sonnenberg discusses the film, Vertov, and ...his own struggle to get to watch the film.
Prunes examines the relationship between the films of Dziga Vertov and Soviet photography during the interwar years. While Vertov's reputation has long been established in film canon as one of the ...seminal Soviet Montage directors, analysis of his work is almost always reduced to a single film, The Man with the Movie Camera. He also proposes to look at another Vertov film, the often ignored Three Songs about Lenin, and it makes a case for the latter film as the best and most comprehensive example of Vertov's aesthetic and ideological beliefs.
