Dziga Vertov

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Dziga Vertov
David Abelevich Kaufman
Birthday
BirthplaceBiałystok, Russian Empire (now Poland)
Died
NationalitySoviet
Occupation
Film director, cinema theorist

Vertov, Dziga

 

(pseudonym of Denis Arkad’evich Kaufman). Born Dec. 21, 1895 (Jan. 2, 1896), in Belostok; died Feb. 12, 1954, in Moscow. Soviet film director and documentary film maker; one of the founders of documentary film making in the Soviet Union and the world.

During the first years of Soviet power, Vertov worked in the newsreel department of the Moscow Film Committee. He directed the work of photographers-reporters and, using material from the Civil War, made the films Anniversary of the Revolution (1919), The Agitation and Propaganda Train of the All-Russian Central Executive Committee (1921), and History of the Civil War (1922). Vertov founded the thematic newsreel series Kino-pravda (1922-25), in which he developed new newsreel filming techniques and for the first time applied principles of montage juxtaposition to documentaries. His best Kino-pravda effort was the production of The Lenin Kino-Pravda (no. 21).

Vertov published a number of theoretical articles and manifestos in which he explained the theoretical basis of his Kino-Eye method.

His main contribution was his innovative development of the documentary film as a pictorial social commentary. In the film Forward, Soviet! (1926), he used the techniques of montage juxtaposition to help create a documentary picture of Moscow when the city was recovering from ruin and famine. In One-sixth of the World (1926), he presented a poetic image of the Soviet motherland. In Enthusiasm (Donbas Symphony), his first talking movie (1930), Vertov used both visual and audio means to develop the theme of socialist construction. His film Three Songs About Lenin (1934) is the best work done in the Soviet pictorial social commentary film medium.

Vertov’s creative and theoretical legacy has had a major influence on the development of Soviet and foreign documentary films. He was awarded various medals and the Order of the Red Star.

WORKS

Stat’i, dnevniki, zamysly. Moscow, 1966.

REFERENCE

Abramov, N. P. Dziga Vertov. Moscow, 1962. (See bibliography and listing of films.)

N. P. ABRAMOV

References in periodicals archive ?
Artistically, Gurovich was inspired by the Russian movement of Constructivism from the late 1920s, in particular the posters designed by Dziga Vertov and the Stenberg brothers.
e, il faudrait signaler que, dans la conception d'Eisenstein, de Vertov, de Brecht, l'art n'est jamais au service du pouvoir ou de la r?
La dissoluzione della continuita narrativa, insieme con le scenografie geometrizzanti e ipnotiche di Enrico Prampolini, ne fanno addirittura un antecedente delle linee di ricerca successivamente tracciate da Richter ed Eggeling, da Vertov ed Ejzenstejn, da Leger e Clair.
In Man with a Movie Camera [1929], Dziga Vertov went out with a camera and filmed everyday stuff, and then he and his wife found a way to edit it together.
A potencia dessas imagens e resultado de uma complexa interseccao, em que incidem criterios tecnologicos, como a portabilidade das cameras, e na qual se atualiza um antigo projeto do cinema: constituir um cine-olho, como no projeto de Dziga Vertov, imerso no fluxo dos acontecimentos, confundido com a materia da vida.
Unos cuantos son de indole historica, como los correspondientes a lo extraidos de Mosfilm para el capitulo dedicado al cine sovietico (cuyos cineastas--Eisenstein, Vertov, Pudovkin, Kuleshov--desplegaron un entusiasmo sobre el montaje que deberia haberse mantenido en todas las generaciones posteriores de cualquier pais; sin duda el autor de este texto mantiene viva la llama).
When Dziga Vertov famously reveled in the camera's ability to "catch life unawares," he fought against the theatricality of bourgeois fictional film.
Pero no fue hasta que tuve la fortuna de conocer la Cinematheque Francaise que pude conocer con mayor profundidad a cineastas como Bresson, Mizoguchi, Vertov, Vigo y Ozu.
Segun David Tomas, la nocion de montaje blando en Farocki debe ser leida en relacion al concepto de intervalo en el cine de Dziga Vertov (250).
Like Dziga Vertov and the revolutionaries of the modernist Soviet cinema, who pronounced a death sentence on the films that came before for mixing in "foreign matter," Bresson bemoaned the "terrible habit" of using theatrical techniques in movies, a convention only exacerbated by the introduction of sound.
Contrario fue el caso de la musica compuesta por el ucraniano Anton Baibakova para el documental Nebyvalyi pokhod (El alza sin precedentes) de 1931, cuya interpretacion a cargo de las planistas Sofia y Barbara Turtan, el contrabajista Cyril Machynskyy y el percusionista Andrew Nadolskyy, fluyo perfectamente junto a las imagenes contrastantes de la pobreza reinante en la Rusia de Stalin, pese a la rapida industrializacion propuesta por el dictador, captadas en celuloide por Mikhail Kaufman, hermano de Denis Kaufman mejor conocido como Dziga Vertov.
Por este motivo, y dejando de lado las plausibles lecturas foucaultianas o derrideanas que puede propiciar este proceso deconstructivo de Zambra, que devela las oscuras normas de una biopolitica educativa de constricciones seriadas, preferimos asociar su trabajo al de aquellos otros lenguajes que se preguntan, adanicamente, sobre si mismos y sobre sus elementos compositivos, para lo cual quiza sea mas feraz comparar Facsimil y su trabajo reconstructor o deconstructor de la palabra, la frase y el discurso con el que hizo Dziga Vertov en 1929, cuando en Un hombre y su camara nos presenta tambien al mismo tiempo la realidad politica sovietica y las particulas elementales, compositivas, con los que esta construido el filme: los fotogramas.