Technical Obsession And Modernity Of Cinematic Reception

5738 WordsAug 30, 201523 Pages
Chapter 1 Technical Obsession and Modernity of Cinematic Reception Case Study: The Man with the Movie Camera; The Artist This chapter conducts a comparative study of two films, The Man with the Movie Camera (Vertov, 1929) and The Artist (Hazanavicius, 2011), examining how they reflect cinematic technical developments of the 1920s-1930s. Director Dziga Vertov depicted one day in a Soviet city around ten years after the 1917 October Revolution, which had seen the Czar overthrown and the establishment of Lenin?s Bolshevik government[footnoteRef:1]. Roberts (2000) dissected the overall structure of the ?day? as, ?one-third rest, one-third work, one-third leisure.? The film portrayed the city chronologically from before sunrise-when citizens are sleeping and transportation is halted- to daybreak- encompassing workers and craftsmen devoted to the construction and operation of the city- alongside ?entertaining? moments, for example, people relaxing by the beach (p2). Vertov also installed filmmakers as characters themselves within the lively portrait of the city. A cameraman (impersonated by Vertov?s brother, Mikhail Kaufman, a cameraman himself) departs to capture images of the city before it ?awakes?, appearing frequently as a persistent recorder of the surroundings; an editor (impersonated by Vertov?s wife, Elizaveta Svilova, an editor in real life) cuts and splices the cameraman?s footage in an editing laboratory. Moreover, the presentations of the city through the

More about Technical Obsession And Modernity Of Cinematic Reception

Open Document