Related Research Articles
A documentary film or documentary is a non-fictional motion picture intended to "document reality, primarily for instruction, education or maintaining a historical record". Bill Nichols has characterized the documentary in terms of "a filmmaking practice, a cinematic tradition, and mode of audience reception [that remains] a practice without clear boundaries".
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.
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.
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.
Experimental film or avant-garde cinema is a mode of filmmaking that rigorously re-evaluates cinematic conventions and explores non-narrative forms or alternatives to traditional narratives or methods of working. Many experimental films, particularly early ones, relate to arts in other disciplines: painting, dance, literature and poetry, or arise from research and development of new technical resources.
Mikhail Abelevich Kaufman was a Soviet and Russian cinematographer and photographer. He was the younger brother of filmmaker Dziga Vertov and the older brother of cinematographer Boris Kaufman.
Rien que les heures is a 1926 experimental silent film by Brazilian director Alberto Cavalcanti showing the life of Paris through one day in 45 minutes.
Berlin: Symphony of a Metropolis or Berlin: Symphony of a Great City is a 1927 German silent film directed by Walter Ruttmann, co-written by Carl Mayer and Karl Freund. Much of the motion in the film, and many of the scene transitions, are built around the motion of trains and streetcars.
The Kinoks were a collective of Soviet filmmakers in the 1920s, consisting of Dziga Vertov, Elizaveta Svilova and Mikhail Kaufman.
One of the principal features defining traditional cinema is a fixed and linear narrative structure. In Database Cinema however, the story develops by selecting scenes from a given collection like a computer game in which a player performs certain acts and thereby selects scenes and creating a narrative.
Rain is a 1929 Dutch short documentary film directed by Mannus Franken and Joris Ivens. It premiered on 14 December 1929, in the Amsterdam Filmliga's theater, De Uitkijk.
A Sixth Part of the World, sometimes referred to as The Sixth Part of the World, is a 1926 silent film directed by Dziga Vertov and produced by Kultkino. Through the travelogue format, it depicted the multitude of Soviet peoples in remote areas of USSR and detailed the entirety of the wealth of the Soviet land. Focusing on cultural and economic diversity, the film is in fact a call for unification in order to build a "complete socialist society".
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).
An agit-train was a locomotive engine with special auxiliary cars outfitted for propaganda purposes by the Bolshevik government of Soviet Russia during the time of the Russian Civil War, War Communism, and the New Economic Policy. Brightly painted and carrying on board a printing press, government complaint office, printed political leaflets and pamphlets, library books, and a mobile movie theater, agit-trains traveled the rails of Russia, Siberia, and Ukraine in an attempt to introduce the values and program of the new revolutionary government to a scattered and isolated peasantry.
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.
In Spring is a 1929 Soviet 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.
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.
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.
Modernist film is related to the art and philosophy of modernism.
References
- 1 2 3 Weinberg, Herman (2018-07-20). The City Symphony Phenomenon. Routledge. p. 271. doi:10.4324/9781315619989-62.
- ↑ MUBI Collection: CITY SYMPHONIES|MUBI
- 1 2 Hutchinson, Pamela (2017). "Where to begin with city symphonies". BFI. Retrieved 2024-02-20.
- 1 2 3 4 CITY SYMPHONIES - Gartenberg Media Enterprises
- ↑ Program 3: The Postwar City Symphony, Part 2 - Film at Lincoln Center
- 1 2 3 4 Where to begin with city symphonies|BFI
- ↑ The sound of silents: is it time to revive the 'city symphony' film genre?|Cities|The Guardian
- ↑ "Cinematic Classics, Legendary Stars, Comedic Legends and Novice Filmmakers Showcase the 2008 Film Registry" News from the Library of Congress (30 December 2008)
- 1 2 The City Symphony - The Urban Landscape - Screening Series by Topiary Landberg
- ↑ Stations of the Elevated|Night Flight Plus
- ↑ Dennis Lim's Top 10|Current|The Criterion Collection
- 1 2 Program 2: The Postwar City Symphony, Part 1 - film at Lincoln Center
- ↑ Shirley Clarke's once-banned independent film The Connection remains hard stuff - nashvillescene.com
- ↑ City Symphonies, Anthology Film Archives, January 2019 - an endless banquet
- ↑ Abstract in Concrete (1952), The Making Of - Greg.org
- 1 2 3 4 The City Symphony Phenomenon: Cinema, Art, and Urban Modernity Between the Wars - Routledge
- ↑ A Century of City Symphonies - POV Magazine
- ↑ Rain: A Phenomenal Catalogue|(in)Transition
- ↑ The sound of silents: is it time to revive the 'city symphony' film genre?|Cities|The Guardian
