Boris Kaufman

Last updated
Boris Kaufman
Photo of Boris Kaufman.jpg
Born
Boris Abelevich Kaufman

(1906-08-24)August 24, 1906
DiedJune 24, 1980(1980-06-24) (aged 73)
Alma mater University of Paris
Occupation Cinematographer
Relatives Dziga Vertov
Mikhail Kaufman

Boris Abelevich Kaufman, A.S.C. (Russian : Бори́с А́белевич Ка́уфман; August 24, 1906 – June 24, 1980) was a Russian-born American cinematographer [1] [2] and the younger brother of Soviet filmmakers Dziga Vertov and Mikhail Kaufman.

Contents

Life and career

Kaufman was born into a family of Jewish intellectuals in Białystok when Congress Poland was part of the Russian Empire. After the Bolshevik Revolution of 1917, Poland regained its independence, and Boris moved there with his parents. Mikhail and Denis, better known as Dziga Vertov, stayed in the Soviet Union and became important filmmakers, producing avant-garde and agitprop films. The brothers later stayed in touch primarily by letters; Vertov visited Boris Kaufman in Paris twice, in 1929 and 1931.

After graduating from the University of Paris, Kaufman turned to cinematography,[ citation needed ] collaborating with Jean Vigo and Dimitri Kirsanoff. During World War II, he served in the French Army against the Nazis; when France fell, Kaufman escaped to Canada. After working briefly with John Grierson for the National Film Board of Canada, he moved to the United States in 1942.

Kaufman supported himself by filming short subjects and documentaries until director Elia Kazan chose him as director of photography for On the Waterfront (1954), Kaufman's first American feature film, for which he won an Academy Award for Best Cinematography (Black and White) and a 1955 Golden Globe Award. For Kazan's Baby Doll (1956), he received a second Oscar nomination. [3] Kaufman was director of photography for Sidney Lumet's first film, 12 Angry Men (1957), and The Pawnbroker (1964). Retiring in 1970, he died in New York City on June 24, 1980, 3 months after his brother Mikhail.

Selected filmography

YearTitleDirectorNotes
1929 À propos de Nice Jean Vigo Short film
1931 Jean Taris, Swimming Champion Jean VigoShort film
1933 Zero for Conduct Jean Vigo
The Agony of the Eagles Jean Mamy
1934 L'Atalante Jean Vigo
The Path to Happiness Jean Mamy
Zouzou Marc Allégret
1936 You Can't Fool Antoinette Paul Madeux
When Midnight Strikes Léo Joannon
1937 Cinderella Pierre Caron
1938 Fort Dolorès René Le Hénaff
1939 The Fatted Calf Serge de Poligny with Philippe Agostini
1940 Serenade Jean Boyer with Claude Renoir
1944 Hymn of the Nations Alexander Hammid Short film
1945A Better TomorrowAlexander HammidShort film
1947 Journey Into Medicine Willard Van Dyke Documentary film
1949 Roller Derby Girl Justin Herman Short film
1951The Gentleman in Room SixAlexander HammidShort film
1952Leonardo da Vinci Luciano Emmer Documentary film
1954 On the Waterfront Elia Kazan Winner - Academy Award
Garden of Eden Max Nosseck
1956 Singing in the Dark Max Nosseck
Patterns Fielder Cook
Crowded Paradise Fred Pressburger
Baby Doll Elia KazanNomination - Academy Award
1957 12 Angry Men Sidney Lumet
1959 That Kind of Woman Sidney Lumet
1960 The Fugitive Kind Sidney Lumet
1961 Splendor in the Grass Elia Kazan
1962 Long Day's Journey Into Night Sidney Lumet
1963 All the Way Home Alex Segal
1964 The World of Henry Orient George Roy Hill
The Pawnbroker Sidney Lumet
1965 Film Alan Schneider
1966 The Group Sidney Lumet
1968 Bye Bye Braverman Sidney Lumet
The Brotherhood Martin Ritt
Uptight Jules Dassin
1970 Tell Me That You Love Me, Junie Moon Otto Preminger

Related Research Articles

<span class="mw-page-title-main">Dziga Vertov</span> Soviet director

Dziga Vertov was a Soviet pioneer documentary film and newsreel director, as well as a cinema theorist. His filming practices and theories influenced the cinéma vérité style of documentary movie-making and the Dziga Vertov Group, a radical film-making cooperative which was active from 1968 to 1972. He was a member of the Kinoks collective, with Elizaveta Svilova and Mikhail Kaufman.

<span class="mw-page-title-main">Cinema of the Soviet Union</span> Film history of the Soviet Union

The cinema of the Soviet Union includes films produced by the constituent republics of the Soviet Union reflecting elements of their pre-Soviet culture, language and history, albeit they were all regulated by the central government in Moscow. Most prolific in their republican films, after the Russian Soviet Federative Socialist Republic, were Armenia, Azerbaijan, Georgia, Ukraine, and, to a lesser degree, Lithuania, Belarus and Moldavia. At the same time, the nation's film industry, which was fully nationalized throughout most of the country's history, was guided by philosophies and laws propounded by the monopoly Soviet Communist Party which introduced a new view on the cinema, socialist realism, which was different from the one before or after the existence of the Soviet Union.

<i>Man with a Movie Camera</i> 1929 Soviet silent documentary film

Man with a Movie Camera is an experimental 1929 Soviet silent documentary film, directed by Dziga Vertov, filmed by his brother Mikhail Kaufman, and edited by Vertov's wife Yelizaveta Svilova. Kaufman also appears as the eponymous Man of the film.

<i>Kino-Pravda</i> Series of newsreels that captured early Soviet-era daily life

Kino-Pravda was a series of 23 newsreels by Dziga Vertov, Elizaveta Svilova, and Mikhail Kaufman launched in June 1922. Vertov referred to the twenty-three issues of Kino-Pravda as the first work by him where his future cinematic methods can be observed.

<span class="mw-page-title-main">Mikhail Kaufman</span> Russian cinematographer and photographer

Mikhail Abelovich Kaufman was a Soviet, Ukrainian and Russian cinematographer and photographer. He was the younger brother of filmmaker Dziga Vertov and the older brother of cinematographer Boris Kaufman.

<span class="mw-page-title-main">Cinema of Ukraine</span> Filmmaking in Ukraine

Ukrainian cinema comprises the art of film and creative movies made within the nation of Ukraine and also by Ukrainian film makers abroad.

Claude Renoir was a French cinematographer. He was the son of actor Pierre Renoir, the grandson of painter Pierre-Auguste Renoir, and the nephew of director Jean Renoir.

The Kinoks were a collective of Soviet filmmakers in the 1920s, consisting of Dziga Vertov, Elizaveta Svilova and Mikhail Kaufman.

À propos de Nice is a 1930 silent short documentary film directed by Jean Vigo and photographed by Boris Kaufman. The film depicts life in Nice, France by documenting the people in the city, their daily routines, a carnival and social inequalities. Vigo described the film in an address to the Groupement des Spectateurs d'Avant-Garde: "In this film, by showing certain basic aspects of a city, a way of life is put on trial... the last gasps of a society so lost in its escapism that it sickens you and makes you sympathetic to a revolutionary solution."

Yelizaveta Ignatevna Svilova was a Russian filmmaker and film editor. She is perhaps best known for making films with her husband Dziga Vertov and her brother-in-law Mikhail Kaufman. She is also known for her documentaries about World War II and for appearing in and editing Man with a Movie Camera (1929).

<span class="mw-page-title-main">Boris Gusman</span>

Boris Yevseyevich Gusman (1892–1944) was a Soviet author, screenplay writer, theater director, and columnist for Pravda. As deputy director for the Bolshoi Theatre and later director of the Soviet Radio Committee Arts Division, Gusman played an important role in promoting Sergei Prokofiev's music in the USSR and internationally. Gusman was arrested during the Great Purges of the late 1930s, and died in a labor camp in 1944. His son Israel Borisovich Gusman would later become a prominent musical conductor.

<i>Glumovs Diary</i> 1923 film

Glumov's Diary is a 1923 Soviet short silent film, which was the first film directed by Sergei Eisenstein. It was conceived as a part of the theatre production of Alexander Ostrovsky’s 1868 comedy Enough Stupidity in Every Wise Man and it marks Eisenstein's transition from theatre stage director to film director.

<span class="mw-page-title-main">Boris Ignatovich</span>

Boris Vsevolodovich Ignatovich was a Soviet photographer, photojournalist, and cinematographer. He was a pioneer of Soviet avant-garde photography in the 1920s and 1930s, one of the first photojournalists in the USSR, and one of the most significant artists of the Soviet era.

The All-Ukrainian Photo Cinema Administration was a cinematographic state monopoly that united the entire film industry in Ukraine (1922–1930). VUFKU was vertically integrated: it controlled production, distribution, and exhibition of films.

<i>In Spring</i> (film) 1929 film

In Spring is a 1929 Soviet Ukraine silent experimental documentary directed by Mikhail Kaufman. It was the first independent work of the cinematographer, made in accordance with the ideas of the avant-garde manifesto Kinoks and was Kaufman's directorial debut.

<i>Enthusiasm</i> (film) 1931 film

Enthusiasm: The Symphony of Donbas, also referred to as Donbas Symphony or The Symphony of the Donbas Basin, is a 1931 sound film directed by Soviet filmmaker Dziga Vertov. The film was the director's first sound film and also the first of the Soviet production company Ukrainfilm. The film's score is considered experimental and avant-garde because of its incorporation of factory, industrial, and other machine sounds; human speech plays only a small role in the film's sounds.

<span class="mw-page-title-main">Kino-Eye</span>

Kino-Eye is a film technique developed in Soviet Union by Dziga Vertov. It was also the name of the movement and group that was defined by this technique. Kino-Eye was Vertov's means of capturing what he believed to be "inaccessible to the human eye"; that is, Kino-Eye films would not attempt to imitate how the human eye saw things. Rather, by assembling film fragments and editing them together in a form of montage, Kino-Eye hoped to activate a new type of perception by creating "a new filmic, i.e., media shaped, reality and a message or an illusion of a message - a semantic field." Distinct from narrative entertainment cinema forms or otherwise "acted" films, Kino-Eye sought to capture "life unawares" and edit it together in such a way that it would form a new, previously unseen truth.

<span class="mw-page-title-main">Vladimir Nepevny</span> Russian filmmaker and screenwriter (born 1965)

Vladimir Nepevny is a Russian filmmaker and screenwriter.

References

  1. "Boris Kaufman". Cinematographers.nl.
  2. "Boris Kaufman". Movies & TV Dept. The New York Times . 2013. Archived from the original on 2013-01-16.
  3. "Cinematography (Black-and-White)". 1957 Oscars. Retrieved October 27, 2014.