Word: dziga
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...films of the Dziga-Vertov group are, in this sense, films of struggle. To begin to talk about them, you must first of all understand those against whom they struggle, instead of deploring their inaccessibility, their unintellibility, their lack of human warmth, etc; as though criticism's first task was to prohibit boredom in the spectator...
HARVARD-EPWORTH CHURCH. "The Girl and Her Trust" and "A, Temporary Truce" by D.W. Griffith and "Western History" by Stan Brakhage, "Nostalgia" by Hollis Frampton and "Running Shadow" by Robert Fulton. Feb. 8, 7:30, $1. Vladimir and Rosa by the Dziga Vertov Group (Jean-Luc Godard and Jean-Pierre Gorin) Feb. 11, 7:30, free (sponsored by the Institute of Politics...
Solanas collects the surfaces of reality in order to reorganize them as objects into a total social context, creating an essay form in the tradition of the far-Left Soviet cineaste Dziga Vertov (who said: "To make a montage ... means to write something cinegraphic with recorded shots."). Appearances serve as linguistic elements, his "writing" vocabulary, which means less concern with the purity of the images (i. e. dialectical compositions) than with their dialectical relation. Individual images of the bourgeoisie, for example, are never caricatured (ef. Eisenstein) in sequences of their normal activities that are perfectly harmless in hemelves: relaxing...
Similarly, during a Dziga-Vertovian picture-taking walk through Central Park, Alfred can only capture his subjects' surfaces, or fleeting glimpses of pastoral beauty. Alfred reaches the conclusion that in a compartmentalized city hit by random violence, a life-style and home must be staked out, and allegiance paid to them. He buys a rifle; the family, thus released, turns into a sniping party. It is happy once again...
From this, one can see why the recent films of the Dziga Vertoy Group are so dependent on text, text unexplained (hence unconstrained) by the visuals-unseen narrators. Images alone, or images whose sound source is identified (synchronous sound) are potentially, or in Godard's eyes, invariably, reactionary. They are more understandable, "easier" images, in the sense that information issues freely from them-we are accustomed to such images. But the sign system by which we read these images is an ideology of the class in power. Whenever a conscious formal design does not structure our reading of an image...