Constructivism in Film - A Cinematic Analysis: The Man with the Movie Camera
Constructivism in Film examines the radical experiments of early Soviet filmmakers, with special emphasis on the relationship of Constructivist film to contemporary literature, painting, architecture and design. Surveying the socio-political aspects of the Constructivist movement as well, Vlada Petrić then analyzes in detail the most important silent film produced during this era, Dziga Vertov's The Man with the Movie Camera (1929). This updated edition contains a new chapter about the descriptive score of the film.
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Dziga Vertov and the Soviet avantgarde movement
Thematic meaning of The Man with the Movie Camera
Formal structure of The Man with the Movie Camera
Descriptive Score for The Man with the Movie Camera
Introductory statement of the ﬁlm
Annotated ﬁlmography of Vertovs work
accelerated achieved Articles artistic audience avant-garde blurred Cameraman close-up concept conﬂict constructivist creative critics depicting Diagonal position diegetic documentary ﬁlm Dziga Vertov editing Eisenstein Elizaveta Svilova EYE STREET face in shadow factory Film Film-Eye Film-Truth ﬁlm's ﬁlmmakers ﬁnal ﬁrst foreground function futurist Goskino graphic patterns HACU Hands hit objects horizontal ideological inﬂuence intercut intertitles Iskusstvo juxtaposed Kaufman kinesthetic Kino kinoks LACU Lenin lens life-facts looks left Mayakovsky meaning medium shots metaphor method Mikhail Kaufman Moscow motion movement Movie Camera movie theater moving musical newsreel objects with spoons ofﬁcial optical pedestrians perception photographed point of view Produced Radio-Eye reality reels reﬂected rotating screen segments sequence Sergo Ordzhonikidze shooting signiﬁcance socialist realism Songs about Lenin sound speciﬁc spectators Svilova's eyes look thematic Three Songs tion tracking trafﬁc trafﬁc signal train tripod trolley vertical Vertov and Svilova viewer visual wheel workers young woman