Selected Courses on Digital Art-UOWM

11 Δεκεμβρίου 2012

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“Man with a Movie Camera”

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“Man with a Movie Camera” is the fourth album by “The Cinematic Orchestra”. It is the soundtrack to a re-released version of the (then ground-breaking) 1929 silent documentary film, “Man with a Movie Camera” from Russian director Dziga Vertov. VUFKU 1929

[youtube https://www.youtube.com/watch?v=Iey9YIbra2U]

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Man with a Movie Camera (Russian: Человек с киноаппаратом, Chelovek s kinopparatom — sometimes called The Man with the Movie Camera,The Man with a Camera, The Man With the Kinocamera, or Living Russia[1]) is an experimental 1929 silent documentary film, with no story and no actors,[2] by Russian director Dziga Vertov, edited by his wife Elizaveta Svilova.
Vertov’s feature film, produced by the Ukrainian film studio VUFKU, presents urban life in Odessa and other Soviet cities. From dawn to dusk Soviet citizens are shown at work and at play, and interacting with the machinery of modern life. To the extent that it can be said to have “characters,” they are the cameramen of the title, the film editor, and the modern Soviet Union they discover and present in the film.
This film is famous for the range of cinematic techniques Vertov invents, deploys or develops, such as double exposure, fast motion, slow motion,freeze frames, jump cuts, split screens, Dutch angles, extreme close-ups, tracking shots, footage played backwards, stop motion animations and a self-reflexive style (at one point it features a split screen tracking shot; the sides have opposite Dutch angles).
In the 2012 Sight and Sound poll, film critics voted Man with a Movie Camera the 8th best film ever made.[3]

Contents

  [hide] 

[edit]Overview

Opening shot

The film has an unabashedly avant-garde style, and emphasizes that film can go anywhere. For instance, the film uses such scenes as superimposing a shot of a cameraman setting up his camera atop a second, mountainous camera, superimposing a cameraman inside a beer glass, filming a woman getting out of bed and getting dressed, even filming a woman giving birth, and the baby being taken away to be bathed.
Vertov was one of the first to be able to find a mid-ground between a narrative media and a database form of media. He shot all the scenes separately, having no intention of making this film into a regular movie with a storyline. Instead, he took all the random clips and put it in a database, which Svilova later edited[citation needed]. The narrative part of this process was her job. She had to go into that random pool of clips that Vertov filmed, edit it, and put it in some kind of order. Vertov’s purpose of all this was to break the mold of a linear film that the world was used to seeing in those days[citation needed].
Vertov’s message about the prevalence and unobtrusiveness of filming was not yet true—cameras might have been able to go anywhere, but not without being noticed; they were too large to be hidden easily, and too noisy to remain hidden anyway. To get footage using a hidden camera, Vertov and his brother Mikhail Kaufman (the film’s co-author) had to distract the subject with something else even louder than the camera filming them[citation needed].
The film also features a few obvious stagings such as the scene of a woman getting out of bed and getting dressed and the shot of chess pieces being swept to the center of the board (a shot spliced in backwards so the pieces expand outward and stand in position). The film was criticized for both the stagings and the stark experimentation, possibly as a result of its director’s frequent assailing of fiction film as a new “opiate of the masses.[citation needed]“

[edit]Vertov’s intentions

In this shot, Mikhail Kaufman acts as a cameraman risking his life in search of the best shot

Vertov — born David Abelevich Kaufman — was an early pioneer in documentary film-making during the late 1920s. He belonged to a movement of filmmakers known as the kinoks, or kino-oki (kino-eyes). Vertov, along with other kino artists declared it their mission to abolish all non-documentary styles of film-making. This radical approach to movie making led to a slight dismantling of film industry: the very field in which they were working. Most of Vertov’s films were highly controversial, and the kinoc movement was despised by many filmmakers of the time. Vertov’s crowning achievement, Man with a Movie Camera, was his response to critics who rejected his previous film, One-Sixth Part of the World. Critics declared that Vertov’s overuse of “intertitles” was inconsistent with the film-making style the ‘kinoks’ subscribed to[citation needed].
Working within that context, Vertov dealt with much fear in anticipation of the film’s release. He requested a warning to be printed in Soviet centralCommunist newspaper, Pravda, which spoke directly of the film’s experimental, controversial nature. Vertov was worried that the film would be either destroyed or ignored by the public eye[citation needed]. Upon the official release of Man with a Movie Camera, Vertov issued a statement at the beginning of the film, which read:
“The film Man with a Movie Camera represents
AN EXPERIMENTATION IN THE CINEMATIC COMMUNICATION
Of visual phenomena
WITHOUT THE USE OF INTERTITLES
(a film without intertitles)
WITHOUT THE HELP OF A SCENARIO
(a film without a scenario)
WITHOUT THE HELP OF THEATRE
(a film without actors, without sets, etc.)
This new experimentation work by Kino-Eye is directed towards the creation of an authentically international absolute language of cinema – ABSOLUTE KINOGRAPHY – on the basis of its complete separation from the language of theatre and literature.”
This manifesto echoes an earlier one that Vertov wrote in 1922, in which he disavowed popular films he felt were indebted to literature and theater.[4]

[edit]Stylistic aspects

Poster by Stenberg brothers (1929)

Working within a Marxist ideology, Vertov strove to create a futuristic city that would serve as a commentary on existing ideals in the Soviet world. This artificial city’s purpose was to awaken the Soviet citizen through truth and to ultimately bring about understanding and action. The kino’s aesthetic shined through in his portrayal of electrification, industrialization, and the achievements of workers through hard labour. This could also be viewed as early modernism in film.
Some have mistakenly stated that many visual ideas, such as the quick editing, the close-ups of machinery, the store window displays, even the shots of a typewriter keyboard are borrowed from Walter Ruttmann‘s Berlin: Symphony of a Great City (1927), which predates Man with a Movie Camera by two years, but as Vertov wrote to the German press in 1929,[5] these techniques and images had been developed and employed by him in his Kino-Pravda newsreels and documentaries for the last ten years, all of which predate Berlin. Vertov’s pioneering cinematic concepts actually inspired other abstract films by Ruttmann and others.
Because of doubts before screening, and great anticipation from Vertov’s pre-screening statements, the film gained great interest before even shown[citation needed]. Once the film was finally screened, the public either embraced or dismissed Vertov’s stylistic choices. The pace of the film’s editing—more than four times faster than a typical 1929 feature, with approximately 1,775 separate shots—perturbed some viewers, including The New York Times‘ reviewer Mordaunt Hall:
“The producer, Dziga Vertof, does not take into consideration the fact that the human eye fixes for a certain space of time that which holds the attention.”[6]
On a technical note, Man with a Movie Camera’s usage of double exposure and seemingly ‘hidden’ cameras made the movie come across as a very surreal montage rather than a linear motion picture. Many of the scenes in the film contain people, which change size or appear underneath other objects (double exposure). Because of these aspects, the movie’s overall speed is fast moving and enthralling. The sequences and close-ups capture emotional qualities, which could not be fully portrayed through the use of words. The film’s lack of ‘actors’ and ‘sets’ makes for a unique view of the everyday world; one “directed toward the creation of a genuine, international, purely cinematic language, entirely distinct from the language of theatre and literature.”[citation needed]

[edit]Production

[icon] This section requires expansion. (August 2012)
Man with a Movie Camera, depicting 24 hours in the life of a Soviet city, was actually filmed over a period of about 3 years. Three Soviet cities — Moscow, Kiev and Odessa — were the shooting locations.

[edit]Soundtracks

The film, originally released in 1929, was silent, and accompanied in theaters with live music. It has since been released a number of times with different soundtracks:
  • 1995 – New composition was performed by the Alloy Orchestra of Cambridge, Massachusetts, based on notes left by Vertov.[7] It incorporates sound effects such as sirens, babies crying, crowd noise, etc. Readily available on several different DVD versions.[8]
  • 1996 – Norwegian composer Geir Jenssen (aka Biosphere) was commissioned by the Tromsø International Film Festival to write a new soundtrack for the movie, using the director’s written instructions for the original accompanying piano player. Jenssen wrote half of the soundtrack, turning the other half to Per Martinsen (aka Mental Overdrive). It was used for the Norwegian version Mannen med filmkameraet at the 1996 TIFF [1][2]. Scored movie not available after the festival. The soundtrack was released in 2001 on Substrata 2.
  • 1999 – In the Nursery version,[9] made for the Bradford International Film Festival. Currently available on a few DVD versions, often paired with the Alloy Orchestra score as an alternate soundtrack.
  • 2001 – Steve Jansen and Claudio Chianura recorded a live soundtrack for a showing of the film at the Palazzina Liberty, in Milan on 11 December 1999. This was subsequently released on CD as the album Kinoapparatom in 2001.
  • 2002 – A version was released with a soundtrack composed by Jason Swinscoe and performed by the British jazz and electronic outfit The Cinematic Orchestra (see Man with a Movie Camera (The Cinematic Orchestra album)). Originally made for the Porto 2000 Film Festival. It was also released on DVD in limited numbers by Ninja Tune. This DVD edition is currently very much in demand and goes for prices higher than the other DVD versions.
  • 2002 – A score for the film by Michael Nyman was premiered performed by the Michael Nyman Band on May 17, 2002 at London’s Royal Festival Hall. A British Film Institute DVD of the film was released with Nyman’s score. This score is readily available on several different DVD editions. It has not been issued on CD, but some of the score is reworked from material Nyman wrote for the Sega Saturn video game Enemy Zero, which had a limited CD release, and Nyman performs a brief excerpt, “Odessa Beach” on his album, The Piano Sings.
  • 2003 June – Boston-based multi-theremin ensemble The Lothars performed a semi-improvised soundtrack accompanying a screening of the film at the Coolidge Corner Theatre in Brookline, Massachusetts. They repeated their performance three years later, in December, 2006 at the Galapagos Art Space in Brooklyn, New York.
  • 2006 Absolut Medien, Berlin released a DVD with the 3soundtracks from Michael Nyman, In the nursery, and a new soundtrack from Werner Cee
  • 2007 November – France based group Art Zoyd presented a scenic version of the film with addition video by artist Cecile Babiole. A studio recording of the soundtrack was released on CD in 2012: Eyecatcher/Man with a Movie Camera.
  • 2008 – Norwegian electronic jazz trio Halt the Flux performed their interpretation of the soundtrack for Man with a Movie Camera[10] in Bergen International Film Festival. The trio consists of Anders Wasserfall, Jørgen Vaage & Bjørnar Thyholdt.
  • 2008 October – London based Cinematic Orchestra undertook a show featuring a screening of Vertov’s film, which preceded the re-issue of the Man With A Movie Camera DVD, in November.
  • 2008 November – San Francisco Bay Area based Tricks of the Light Orchestra accompanied a screening of the film on Sunday, November 30 at Brainwash Cafe in San Francisco.
  • 2009 July; Mexican composer Alex Otaola performed live a new soundtrack for the film at Mexico’s National Cinematheque. Aided by the ‘Ensamble de Cámara/Acción’ (Adrian Terrazas-bass clarinet, Daniel Zlotnik-clarinet/flute, María Emilia Martínez-flute, Luca Ortega-flute/piano, Carlos Maldonado-upright, Jose María Arreola-drums/percussion), which consists of members from The Mars Volta, Los Dorados, San Pascualito Rey, Klezmerson and LabA
  • 2009 The New York City based Voxare String Quartet performed music by Soviet Modernist composers to accompany a screening of the film.
  • 2010 August – Irish instrumental post-rock band 3epkano accompanied a screening of the film with an original live soundtrack in Fitzwilliam Square in Dublin [11]
  • 2010 July – Ukrainian guitarist and composer Vitaliy Tkachuk with his quartet performed his own soundtrack for the film at a first Ukrainian silent cinema festival “Mute nights” in Odessa, the city where this movie was made.[12]
  • 2011: The French pianist Yann Le Long, the violoncellist Philippe Cusson and the percussionist Stéphane Grimalt performed for the first time the soundtrack written by Le Long for the film (20 May 2011) at the Centre Culturel du Vieux Couvent, Muzillac, France.

[edit]References

  1. ^ List of alternate titles for “Man with a Movie Camera”
  2. ^ Dziga Vertov. On Kinopravda. 1924, and The Man with the Movie Camera. 1928, in Annette Michelson ed. Kevin O’Brien tr. Kino-Eye : The Writings of Dziga Vertov, University of California Press, 1995.
  3. ^ “Sight & Sound Revises Best-Films-Ever Lists”. studiodaily. 1 August 2012. Retrieved 1 August 2012.
  4. ^ “Man With a Movie Camera” by Grant Tracey
  5. ^ Dziga Vertov. Letter from Berlin page 101, in Annette Michelson ed. Kevin O’Brien tr. Kino-Eye : The Writings of Dziga Vertov, University of California Press, 1995.
  6. ^ Review by Roger Ebert, Chicago Sun Times, July 1, 2009
  7. ^ ALLOY ORCHESTRA Current Touring Repertoire
  8. ^ Man with a Movie Camera (Alloy Orchestra), 01:06:40, 1929 on YouTube
  9. ^ “Man with a Movie Camera” score by In the Nursery
  10. ^ Halt the Flux clip from “A Man With A Movie Camera”
  11. ^ “3epkano Cinema in The Park
  12. ^ Soundtrack by Vitaliy Tkachuk

[edit]Further reading

  • Annette Michelson ed. Kevin O’Brien tr. Kino-Eye : The Writings of Dziga Vertov, University of California Press, 1995.
  • Feldman, Seth R. Dziga Vertov. A Guide to References and Resources. Boston: G. K. Hall, 1979.
  • Devaux, Frederique. L’Homme et la camera: de Dziga Vertov. CrisnÈe, Belgique: Editions Yellow Now, 1990.
  • Nowell-Smith, Geoffrey. The Oxford history of World Cinema. Oxford; New York: Oxford University Press, 1996.
  • Tsivian, Yuri. Lines of Resistance: Dziga Vertov and the Twenties. edited and with an introduction by Yuri Tsivian; Russian texts translated by Julian Graffy; filmographic and biographical research, Aleksandr Deriabin; co-researchers, Oksana Sarkisova, Sarah Keller, Theresa Scandiffio. Gemona, Udine : Le Giornate del cinema muto, 2004.
  • Manovich, Lev. “Database as a Symbolic Form”. Cambridge: MIT Press, 2001.

[edit]External links

MAN WITH A MOVIE CAMERA

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shirin neshat2

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[youtube https://www.youtube.com/watch?v=sOjqX4rgS9c]

PERU -perry bard profile

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[youtube https://www.youtube.com/watch?v=qsechFfg5ts]

VIOLAS ALL-MY SPACE IS NOT A MOVIE CAPRURED SPACE

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[youtube ]
Awaiting,screaming,awaiting,screaming,awaiting,screaming,
awaiting,space,screaming,spaceinbeetwen,
screming

Bill Viola – Migration

http://www.youtube.com/watch?v=6kshO9Ilefg&list=UL

Joseph Beuys (1921-1986) – On Art and Jackson Pollock (Excerpt From Cooper Union Dialogue)

[youtube https://www.youtube.com/watch?v=ilSCTFFZmsk]

[youtube https://www.youtube.com/watch?v=Szc8dWQf3zc]

Looking at the viola;s videos for the idea of a space that acts as an intermidiate space with the mouth
i was thinking about my ideas and mostly the idea of my video;s space..
διάδρομος-

there is not an interest to capture a special movement at the three dimensional space… it is mostly an effort to create the presence of the absence of the space of unity… a space that is the target space of most of the art creations..the deleuzian gate of fantasy… What I mean is that I dont intend to trap the glace of the viewer in a certain perception of the space like the 3d perception that viola  projects at the “space between the mouth”  while he is capturing that long shor far long shot of the narrow diadromos untill the rythmical repititions of the scene  parallel with a  rhythmical decreasment of the projecting time of the primary scene along with the rythmical increasment of the secondary’s scene’s rythmical repeatation , the rythmical unification of the two observed spaces, the far long shot of the narrow space and the close up of his mouth while he is sitting at a chair at the end of the dia-dromos—
so thinking about it i decided that i could even think of having that kind of sbota with my poor means…My only hope was a 3d scene simulating at least my movement my —intention…..\

I thought again how many years i have lost in order to discover the way that an ””artist”’ of our times works…Actually I havent found it yet…but now…i smelll it and i am sure i know how to teach to be close to grasp tyhe feeling thje new life of capturing the real life… I think that all the other ways are limited to perception limited to information i have the ego the powe5r of the gods that had given me as a present the knowledge of the box. The box is simple but at the same t9ime could become very complicated and create vast crteatures new forms of life and exhistence
\\\\\\\

The box is the box of pandora or is the bo of our life?

live guggenheim

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[youtube https://www.youtube.com/watch?v=NDv4oPpj8vs]


IS THAT ART THE INTENTION OF THE ARTIST
IS THAT ART THE CREATURE OF THE MEDIA
IS THAT A SPECTACLE
IS SPECTACLE PART OF THE ART AND WHICH ARE THE BORDERS
THE THEORY OF THE “HOLLY SHEET” MIT LIBRARY

Post Newtonianism-web biennial

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[youtube https://www.youtube.com/watch?v=-cto649nkjY?list=PLF26E81358F8738C6&hl=en_US]Post Newtonianism Uploaded on May 14, 2010 Post Newtonianism (War Footage/Call of Duty 4 Modern Warfare Footage) This piece is a two channel video with sound. The video on the left consists of a loop of actual war footage taken from cameras mounted on American military aircraft, from both airplanes and helicopters. Taken during the first Gulf War in 1991, and the current occupation of Iraq the footage shows the bombing of vehicles, military targets as well as the shooting of insurgents and oppositional forces. In contrast the footage on the right is from the popular video game “Call of Duty 4: Modern Warfare”. The sound track is a mixture of audio taken from the video game and the footage released by Wikileaks approximately two months ago in which the US military killed two reporters working for Reuters as well as a number of unarmed civilians. Read from left to right the video acts as a timeline, showing the ways in which war has been presented to my generation. First as surreal black and white (sometimes green from night vision) grainy video, to the hyperrealist, slightly less grainy representation in the video games many Americans have grow up playing . As the first true, real time, television war the first Gulf War was experienced by many as grainy, soundless video, devoid of people, clear representations of devastation or human loss. Instead we were confronted with this amazing, surreal, real time footage that was disembodying. Instantly and for the first time the reality of war was primetime entertainment merging both reality and simulacrum. Each step in this binary timeline desensitized us further from the horrors of war. Through hearing the audio we experience the result of our collective desensitization in the brutally insensitive, numbed and distant language used by American soldiers in Iraq. Additionally as the audio plays we become aware of the encroachment upon reality by the media driven simulacrum. At the start of the piece we hear the audio taken from the Wikileaks video, gradually as the video plays the audio becomes entwined and merged with audio pulled from the video game. The end result is an approximately equal mix of sound from real and unreal sources, blurring the line of reality a little further. Additionally this piece is about the power of the internet, as both a political and artistic tool. Every piece of footage and sound in this video was intentionally harvested from the internet for that purpose. My intention was to make something “high Art” using the internet and youtube, creating a work both political in content and form. Constructed using the “mash up” technique familiar to anyone watching youtube videos it looks and sounds like a youtube video and is made on one of the two platforms most if not all youtube video’s are constructed on (final cut/premiere) . My inspiration for making this piece comes from three sources; one the conversation we had as a class revolving around the Wikileaks video, two from reading Edward Said’s “Orientalism” and three from reading Alan Lightman’s “Reunion” . The title “Post Newtonianism”, references Henry Kissinger’s essay “Domestic Structure and Foreign Policy” in which he surmised that the inferiority and backwardness of the east lay in its refusal to acknowledge the Newtonian (read scientific) revolution. This video has been short listed for You Tube Play. See the short list at youtube.com/play Category Gaming License Standard YouTube License

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