Word: dziga
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...part of the experience. “Spatially, you can torque the film in a muscular way—contract, expand, release—in a way that’s in tune with the psyche.” Dorsky says, referring to silent films. Unlike his influences Dziga Vertov and Bruce Conner, whose work veered into social and political commentary, Dorsky seems more concerned with the level to which the individual viewer participates in the film’s meaning. Dorsky says, “Hopefully, if it’s successful, subject matter, screen, and the audience aren?...
Harvard Film Archive--Double feature of Three Songs of Lenin directed by Dziga Vertov at 7 p.m. and The End of St. Petersburg directed by V. I. Pudovkin at 8:15 p.m. $5. Nanook of the North directed by Robert Flaherty...
...today's Soviet films likely to be superior to those of the first flush of revolution. Now that the specter of Stalinism has receded, another shadow haunts Soviet filmmakers, and it may be harder to escape. This is the legacy of Sergei Eisenstein, V.I. Pudovkin, Alexander Dovzhenko and Dziga Vertov, the giants of Soviet silent cinema. Their works (October, Mother, Earth, Man with a Movie Camera) remain at the core of every film curriculum; movies are still made in the visual language they helped invent...
...that Harvard has asked him to return, Petric will take the first semester of next year off(as he originally planned), to complete three books: Cinematic Analysis, a textbook for analyzing film structure; Theory of sound film, about how sound relates to images; and a monograph on Dziga Vertov, a Soviet revolutionary, avant-garde filmmaker of the silent era. He will also publish a recent interview he conducted with Orson Welles, whom Petric considers the greatest American filmmaker (though one who has been neglected...
...where the conventional film engrosses, the Dziga-Vertov film alienates. In place of entertainment, it offers irritation, in place of subtlety, didacticism. Against the passivity of film as diversion, it seeks to provoke an active and critical response. That is the justification for the irrealism of Godard's plot and characterization, for the constant interruptions of the film's movement, for the ceaseless polemic, for the refusal to let the film come to any satisfactory climax...