Soviet director
POPULARITY
4 episodes with Dziga Vertov
3 episodes with Dziga Vertov
2 episodes with Dziga Vertov
2 episodes with Dziga Vertov
4 episodes with Dziga Vertov
2 episodes with Dziga Vertov
2 episodes with Dziga Vertov
2 episodes with Dziga Vertov
2 episodes with Dziga Vertov
Die Ringschaltung Was kostet den Kopf? stellt die seinerzeit verrückten und heute verblüffend aktuellen Ideen der sowjetischen Künstlergruppe um Dziga Vertov ins Zentrum einer zeitgenössischen Aneignung durch Musik, Geräusche und poetische Stimmen, durch schamlose Übertreibungen und medienphilosophische Überlegungen aus dem Jetzt. Im Kosmos der KINOKI geht es um Ideen, die den Kopf kosten können, auch im direkten Sinn des Wortes, wie bei der Ermordung des Dichters Alexej Gastew und des Theatermechanikers Meyerhold durch das Gewaltregime Stalins. Mit David Bennent, Meret Becker u. a. Musik und Regie: FM Einheit Produktion: SWR 2023
On this episode of What a Picture, Bryan and Hannah haul their recording equipment to precarious locations around the city to talk about Man with a Movie Camera, the 1929 movie directed by Dziga Vertov that ranks #9 on Sight and Sound's 2022 Greatest Films of All Time Critics' Poll. Email us at podcast@whatapicturepod.com What a Picture website: https://whatapicturepod.com Bryan's Social Media: Letterboxd | Bluesky Music is "Phaser" by Static in Verona.
Música creada por el compositor francés Pierre Schaeffer en 1948, en París, cuando trabaja en la Radio Televisión Francesa. Su atención está en los sonidos naturales—el paso de un tren, el trino de un pájaro—que graba en cinta magnética y transfiere de modo “concreto”._____Has escuchadoCinq études de bruits. Étude aux chemins de fer (1948) / Pierre Schaeffer. Ina Éditions (2010)Cinq études de bruits. Étude noire (1948) / Pierre Schaeffer. Ina Éditions (2010)Crayonnés ferroviaires (1992) / Michel Chion. Ina GRM (1998)Étude aux sons animés (1958) / Pierre Schaeffer. Ina Éditions (2010)Hors Phase (1977) / Bernard Parmegiani. Ina Éditions (2008)_____ Selección bibliográficaALLEN, Richard, “The Sound of ‘The Birds'”. October, vol. 146 (2013), pp. 97-120*BERTRAND, Loïc, Pierre Schaeffer & Pierre Henry: Symphonie pour un homme seul. Contrechamps Éditions, 2021CHION, Michel, El arte de los sonidos fijados. Traducido por Carmen Pardo. Centro de Creación Experimental de la Universidad de Castilla-La Mancha, 2001*—, Pierre Henry. Fayard, 2003DALLET, Sylvie y Anne Veitl, Du sonore au musical: cinquante années de recherches concrètes (1948-1998). L'Harmattan, 2001DELHAYE, Cyrille, “Orphée 53 de Pierre Schaeffer et Pierre Henry. Aux origines du scandale de Donaueschingen”. Revue de Musicologie, vol. 98, n.º 1 (2012), pp. 171-191*GAYOU, Évelyne, Le GRM: Groupe de Recherches Musicale: cinquante ans d'histoire. Fayard, 2007*GIRAULT, Hervé, “Les Affichages de Pierre Henry - ‘Apparitions Concertées': Analyse d'un parcours”. Musurgia, vol. 17, n.º 3 (2010), pp. 39-58*HENRY, Pierre, Le son, la nuit. La Rue musicale, 2017*—, L'œuvre: catalogue illustré, opus et musiques d'application 1945-2017. Philharmonie de Paris, 2021JUDD, Frederick Charles, Electronic music and musique concrète. Foruli Classics, 2013MANNING, Peter, “The Influence of Recording Technologies on the Early Development of Electroacoustic Music”. Leonardo Music Journal, vol. 13 (2003), pp. 5-10*PALOMBINI, Carlos, “Pierre Schaeffer, 1953: Towards an Experimental Music”. Music & Letters, vol. 74, n.º 4 (1993), pp. 542-557*POLSON, Simon, “(Demolishing) Concrete Music”. Leonardo Music Journal, vol. 23 (2013), pp. 55-57*SCHAEFFER, Pierre, A la recherche d'une musique concrète. Seuil, 1952—, Tratado de los objetos musicales. Traducido por Araceli Cabezón de Diego. Alianza, 1988*—, De la musique concrète à la musique même. Mémoire du livre, 2002STEINTRAGER, James A. y Rey Chow (eds.), Sound objects. Duke University Press, 2019*WEDGEWOOD, Richard B., “Dziga Vertov's ‘Enthusiasm': Musique Concrète in 1930”. College Music Symposium, vol. 23, n.º 2 (1983), pp. 113-121* *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March
This month Tim is joined by the host of A Russian & Soviet Movie Podcast Ally Pitts to discuss Dziga Vertov's Man With A Movie Camera (1929). –––––––––––––––––––––––––––––– Man With A Movie Camera is no. 9 on the Sight & Sound critic's list. –––––––––––––––––––––––––––––– Hosted by Tim Coleman. A Moving Pictures Film Club podcast. Theme music by The Gideon Complex - recorded by FrEQ Audio Recordings. Follow us on Twitter / X @top100pod Get in touch via emai: top100pod@gmail.com Check out our Letterboxd list of our guest's greatest films. –––––––––––––––––––––––––––––– Additional music: Creative Commons — Attribution 3.0 Unported — CC BY 3.0. Music promoted by Copyright Free Music - Background Music For Videos
We talking about silent movies on this episode of the Fan2Fan Podcast! Bernie and Pete are joined by Michele Brittany to continue to discuss City Symphony films including Manhatta (1921), Jean Vigo's A propos de Nice (1930), and Dziga Vertov's Man with a Movie Camera (1929). They also continue reviewing some of the themes reflected in City Symphony films including changes in society, politics, economics, technology, classism, advances in film production, and more. For more info about the Fan2Fan Podcast, visit fanpodcast.com
We talking about silent movies on this episode of the Fan2Fan Podcast! Bernie and Pete are joined by Michele Brittany to discuss City Symphony films including Manhatta (1921), Jean Vigo's A propos de Nice (1930), and Dziga Vertov's Man with a Movie Camera (1929). They also review some of the themes reflected in City Symphony films including changes in society, politics, economics, technology, classism, advances in film production, and more. For more info about the Fan2Fan Podcast, visit fanpodcast.com
Seriah is joined by Michael Angelo, Chris Ernst, Joshua Cutchin, and Saxon/Super Inframan for a fascinating roundtable. Topics include human memory, past lives, ayahuasca, Indigenous Australians and dreams, a Malaysian tribe and dream experiences, art and the unconscious, places experienced only in dreams, a memorable experience in New Zealand, Eric Wargo, major and minor dreams, feedback loops, increasing speeds of communication, Terence McKenna, time wave zero, novelty and information, dueling Terence McKenna impersonations (no, really), city vs. country environments, West Virginia cryptids, Appalachian high strangeness, entanglement with media and mass information, a survey of plants and animals in Japan, long-time traditions, Djinn vs. electronics, Rosemary Ellen Guiley, Ernesto de Martino, magic and magic-accepting cultures, Rupert Sheldrake, experiences in the Mexican jungle, naming creatures, modern medicine and its outliers, language and its purposes, different languages and personalities, Adriano Celentano, “Prisencolinensinainciusol” an Italian hit song in pseudo-English, the film “Skewrl”, the film “Titus”, subtitles, translation and its complications, an episode of the TV series “News Radio”, Joe Rogan and Tony Danza, the film “Genghis Blues”, Mongolian throat singing, Paul Pena, “Jet Airliner” by the Steve Miller Band, Biblical translations, apocryphal texts, an incident from “Hitchhiker's Guide to the Galaxy”, Julian Jaynes, the bicameral mind, the Great Year and the Yuga cycle and its interpretations, Daniel O. McClellan, the Iliad, Graham Hancock, cycles within cycles, “Finnegans Wake” by James Joyce, Walter Cruttenden, Procession of the Equinox, ages and consciousness, a binary star cycle with Sirius, Robert Shock, psychics and solar activity, Laird Scranton, the Dogan people, Fish-headed entities, two universes, Wim Wender's film “Wings of Desire”, the Nick Cage re-make “City of Angels”, Kevin Randle's book “The October Scenario”, Anthony Peake, Joshua Cutchin's “Ecology of Souls”, incarnations and the higher self, simulation theory, Vedanta cosmology/theology, the TV series “Invasion”, Sutton Hoo Anglo-Saxon archeological site, Rendlesham Forest, an ancient ship, “The Dig” Netflix series, folklore, trolls in Norway, the Spirit of the Land, Mexican Fae folk, pareidolia and its possible meanings, Don Quixote, Dziga Vertov and the kino eye, the breakdown of consensus reality, co-creation, the replicability crisis in science, Robert Temple, necromancy, and much more! This is absolutely riveting conversation!This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/4656375/advertisement
Seriah is joined by Michael Angelo, Chris Ernst, Joshua Cutchin, and Saxon/Super Inframan for a fascinating roundtable. Topics include human memory, past lives, ayahuasca, Indigenous Australians and dreams, a Malaysian tribe and dream experiences, art and the unconscious, places experienced only in dreams, a memorable experience in New Zealand, Eric Wargo, major and minor dreams, feedback loops, increasing speeds of communication, Terence McKenna, time wave zero, novelty and information, dueling Terence McKenna impersonations (no, really), city vs. country environments, West Virginia cryptids, Appalachian high strangeness, entanglement with media and mass information, a survey of plants and animals in Japan, long-time traditions, Djinn vs. electronics, Rosemary Ellen Guiley, Ernesto de Martino, magic and magic-accepting cultures, Rupert Sheldrake, experiences in the Mexican jungle, naming creatures, modern medicine and its outliers, language and its purposes, different languages and personalities, Adriano Celentano, “Prisencolinensinainciusol” an Italian hit song in pseudo-English, the film “Skewrl”, the film “Titus”, subtitles, translation and its complications, an episode of the TV series “News Radio”, Joe Rogan and Tony Danza, the film “Genghis Blues”, Mongolian throat singing, Paul Pena, “Jet Airliner” by the Steve Miller Band, Biblical translations, apocryphal texts, an incident from “Hitchhiker's Guide to the Galaxy”, Julian Jaynes, the bicameral mind, the Great Year and the Yuga cycle and its interpretations, Daniel O. McClellan, the Iliad, Grahm Hancock, cycles within cycles, “Finnegans Wake” by James Joyce, Walter Cruttenden, Procession of the Equinox, ages and consciousness, a binary star cycle with Sirius, Robert Shock, psychics and solar activity, Laird Scranton, the Dogan people, Fish-headed entities, two universes, Wim Wender's film “Wings of Desire”, the Nick Cage re-make “City of Angels”, Kevin Randle's book “The October Scenario”, Anthony Peake, Joshua Cutchin's “Ecology of Souls”, incarnations and the higher self, simulation theory, Vedanta cosmology/theology, the TV series “Invasion”, Sutton Hoo Anglo-Saxon archeological site, Rendlesham Forest, an ancient ship, “The Dig” Netflix series, folklore, trolls in Norway, the Spirit of the Land, Mexican Fae folk, pareidolia and its possible meanings, Don Quixote, Dziga Vertov and the kino eye, the breakdown of consensus reality, co-creation, the replicability crisis in science, Robert Temple, necromancy, and much more! This is absolutely riveting conversation! - Recap by Vincent Treewell of The Weird Part Podcast Outro Music is Our Mortality from 50 Dollar Dynasty. Download
What more can possibly be said about Dziga Vertov & Mikhail Kaufman's Man With a Movie Camera, one of the most studied, discussed and written-about films ever made? Is everybody sick of hearing how amazing it is? Perhaps it speaks to the film's timeless artistic energy and bold experimentation that there's always something to say about the camera techniques, radical editing and unique blending of avant-garde and documentary styles which come together using "no titles, no scenario, no actors, no sets" to create an "absolute language of cinema." To help get the best possible insight into this giant artwork, hosts Martin Kessler and John Cribbs welcome Jeremy Workman, a filmmaker who's taken inspiration from Vertov in everything from his award-winning film Lily Topples the World to his latest short documentary Deciding Vote. How has Workman trained his Kino-Eye to the subjects in front of his own movie camera? Is a one hour-long, nearly-100 year old Russian movie's impact so far-reaching that it continues to inspire modern art and filmmaking around the world? Jeremy Workman's website: www.jeremyworkman.com The Pink Smoke site: www.thepinksmoke.com John Cribbs on Twitter: twitter.com/TheLastMachine Movie Kessler on Twitter: twitter.com/MovieKessler The Pink Smoke on Twitter: twitter.com/thepinksmoke Intro music: Unleash the Bastards / “Tea for Two” Outro music: Marcus Pinn / “Vegas"
About Mark Cousins Mark is a Northern Irish-Scottish filmmaker and writer. His themes are the inspiring power of cinema, cities, walking, childhood, archives and recovery. At the start of his career he made TV documentaries on childhood, neo-Nazism and Mikhael Gorbachev. In the mid 90s he and the Edinburgh International Film Festival showed films in Sarajevo to support its besieged citizens. His first book was Imagining Reality: The Faber Book of Documentary (“Indispensible” - Times Literary Supplement). His 2004 book The Story of Film was published around the world. The Times called it “by some distance the best book we have read on cinema.” Its latest edition was published in October 2020. His 930 minute film, The Story of Film: An Odyssey (“The place from which all future film revisionism should begin” - New York Times), played in the major film festivals and cinemas, and has had an influence on film education. Michael Moore gave it the Stanley Kubrick Award, it won the Peabody Award, was BAFTA Scotland nominated, and received other prizes. In 2021 he added a sequel film, The Story of Film: A New Generation. It premiered as the launch film of Cannes, was called “poetry in motion” by the Hollywood Reporter, and “the soul of the festival” by Cannes director Thierry Frémaux. Empire magazine called it “a poetic opus” and it was nominated for Grierson award. Cousins' first feature documentary, The First Movie, about kids in Kurdish Iraq, won the Prix Italia. It was inspired by growing up in the Troubles in Northern Ireland and his passionate interest in the role cinema can play in kids' lives. In 2012 he was nominated for the London Awards for Art and Performance and the Screen International award. He was guest curator at the Eye Cinematheque in Amsterdam. His next feature film, What is this Film called Love?, played in 20 countries, at the ICA in London, and was nominated for Best Director by BAFTA Scotland. PJ Harvey called it “revelatory and inspiring”. The rock band Maximo Park wrote a song inspired by it. In 2013 he completed Here be Dragons, a film about the vital role of film archives, especially one in Albania. It won the main prize in the Romania Film Festival. In the same year he made A Story of Children and Film, which was in the official selection in Cannes. He curated Cinema of Childhood, a series of 17 films which toured the UK and Ireland for a year and was supported by the BFI. He received the Visionary Award in Traverse City and the Saltzgeber Prize at the Berlin Film Festival. Then he made Life May Be, co-directed with Iranian filmmaker Mania Akbari, and 6 Desires, an adaptation of DH Lawrence's book Sea and Sardinia. Life May Be was noted for its feminism and innovation and was called “transcendent and extraordinarily delicate”. It won the Don Quixote prize. 6 Desires: DH Lawrence and Sardinia, in which Jarvis Cocker plays the voice of DH Lawrence, had its world premiere at the London Film Festival and its international premiere at Sundance. Cousins had his first retrospective at the Wroclaw film festival. Others have followed in London, Thessaloniki, Finland and Geneva. Cousins' The Oar and the Winnowing Fan was a takeover of the DazedDigital website. His I am Belfast was his first full feature about Northern Ireland. It was released by the BFI. Variety compared it to the great director Dziga Vertov. His BBC/BFI film Atomic, a collaboration with the band Mogwai, played in Hiroshima, near Chernobyl and Coventry Cathedral and at the Edinburgh International Festival. He curated a season of films for the Romanian Cultural Institute and made a fiction film, Stockholm My Love, (starring Neneh Cherry, released by BFI). He completed Bigger than The Shining, a secret project, showable only in underground circumstances, and wrote The Story of Looking (“Like a wise man looking at the stars”, the Guardian; “Brilliant” the New York Times). It was nominated for the Saltire Award for best non-fiction book. Cousins' The Eyes of Orson Welles world premiered in Cannes and received rave reviews. His 2 hour, four-screen Storm in My Heart is about Hollywood sexism and racism. His 14 hour film Women Make Film premiered at the Venice, Toronto and Telluride film festivals, is narrated by Jane Fonda, Sharmila Tagore, Debra Winger, Adjoa Andoh, Kerry Fox and Tilda Swinton, and is showing in many countries. The Times called it “Exquisite, emotionally resonant and intellectually unassailable. Pure poetry.” It won the European Film Academy's inaugural Innovative Storytelling award, and has led to the restoration of a series of films directed by women. Two more recent films are The Storms of Jeremy Thomas, about the legendary film producer – which premiered in Cannes 2021 and won the best documentary in Spain's Dias De Cine - and The Story of Looking, in which he filters the history of looking through his own eye operation. Time Out called it “A rich cinematic journey into the art of seeing and how it connects us with culture, ourselves and each other.” It won the Best Non-Fiction Film award at the Seville Film Festival. Cousins recently completed My Name is Alfred Hitchcock and The March on Rome, an Italian Palomar production about Mussolini and Fascism, part-shot in Cinecitta in Rome and starring Alba Rohrwacher. The latter premiered at the Venice film festival, was called “entirely arresting” by the Guardian, won the audience award for Best International Documentary in Brazil, and was nominated for a European Film Academy Award. The former premiered at the Telluride film festival. In 2022, his films were the subject of a multi screen film installation, Passé Présent Futur, at the huge Plaza cinema in Geneva, and had a retrospective at the Biograf film festival in Bologna. He premiered his first art installation, Like a Huge Scotland, at teh Fruitmarket gallery, Edinburgh, and – along with Cate Blanchette and Sarah Polley - was given the Outstanding Contribution to Cinema medal at the Telluride Film Festival. Cousins has honorary doctorates from the Universities of Edinburgh and Stirling, is Honorary Professor of film at Queen's University, was co-artistic director of Cinema China and did The Ballerina Ballroom Cinema of Dreams and A Pilgrimage, with Tilda Swinton. He and Swinton also ran The 8 ½ Foundation, a two year event which created a movie birthday for children. It was nominated for the Human Rights Award. He was chair of the Belfast Film Festival and Docs Ireland. He was recently given Portugal's Aurelio de Paz dos Reis international award for Outstanding Contribution to Cinema (2019), and the British Association of Film, Television and Screen Studies Outstanding Achievement Award for his work in screen education (2020). Mark's roles in filmmaking, education and advocacy have widened and deepened with the years. He was an early adopter of small cameras and new technology to evolve a business model for filmmaking which was sustainable, international and creatively free. He has walked across Los Angeles, Belfast, Moscow, Beijing, London, Paris, Berlin, Dakar and Mexico City. He drove from Edinburgh to Mumbai, and loves night swimming. Mark's Info https://twitter.com/markcousinsfilm https://www.womenmakefilm.net/
Our beloved guest host and artist, Elisabeth Condon, and her series "Elisabeth Condon Describes a Painting!" are back for a new installment! This time Elisabeth chose to describe Joseph Stella's oil on canvas painting "Tree of My Life" from 1919 that she saw at The Norton Museum in "Joseph Stella: Visionary Nature." The show is traveling next to the High Museum and to the Brandywine Museum. It was an honor to have Elisabeth's wild and wonderful way of looking at painting again on the pod. See "Joseph Stella: Visionary Nature" in person/online: Norton Museum (since closed): https://tinyurl.com/yhv3paaw High Museum (Feb-May 2023): https://tinyurl.com/szewk7f8 Brandywine Museum of Art (June-Sept 2023): https://tinyurl.com/yry6cry4 Barbara Rose's 1997 Essay "Flora" on Joseph Stella: https://www.tfaoi.org/aa/7aa/7aa792.htm Joseph Stella works mentioned: "Tree of My Life," "The Voice of the City of New York Interpreted," "Brooklyn Bridge," "Battle of Lights, Coney Island" More About Elisabeth Condon: Web: https://www.elisabethcondon.com/ | IG: @elisabethcondon Solo at Emerson Dorsch Gallery late 2023: https://emersondorsch.com/artist/elisabeth-condon/ Florida Art in State Buildings/Univ of South Fla, May 2023: https://tinyurl.com/5n8ycr8m Painting at Freight & Volume Gallery: http://www.freightandvolume.com/ Artists Mentioned: Philip Guston, 4 Gentlemen of the Orchid, Bamboo, Chrysanthemum & Plum, Chinese Scroll Painting, Charles Burchfield, Odilon Redon, Paul Gauguin's "Vision and the Sermon," Hieronymus Bosch, Dziga Vertov's "Man with a Movie Camera," Marcel Duchamp's "Fountain," Agnes Pelton, Henri Rousseau's Paris paintings, Umberto Boccioni & the Italian Futurists, Precisionists: Sheeler, Demuth & Schamberg, Patrick Henry Bruce, Diego Velázquez, Rembrandt, William Merritt Chase, Robert Henri, Alfred Stieglitz, Georgia O'Keeffe, Marsden Hartley Writers mentioned: Barbara Rose, Immanuel Kant, Gaston Bachelard's "Poetics of Space," Henri-Louis Bergson, Lewis Mumford, Walter Conrad Arensberg, Gertrude Stein, Maurice Tuchman Eps mentioned: #38 (Elisabeth Condon Describes a Painting #1) and #15 (Review of "Spiritual in Art: Abstract Painting 1890-1985") ---------------------------- Pep Talks on IG: @peptalksforartists Pep Talks on Art Spiel as written essays: https://tinyurl.com/7k82vd8s Amy's Interview on Two Coats of Paint: https://tinyurl.com/2v2ywnb3 Amy's website: https://www.amytalluto.com/ Amy on IG: @talluts Buy Me a Coffee Donations appreciated! --- Send in a voice message: https://anchor.fm/peptalksforartistspod/message Support this podcast: https://anchor.fm/peptalksforartistspod/support
I höstas kom Sight and Sounds lista över tidernas bästa filmer. Det brittiska filmmagasinet bjuder vart tionde år in filmfolk från världen över för att rösta på sina favoritfilmer och sammanställer resultatet i den kanske mest ansedda filmlistan som finns. I 2022 års omröstning hamnade belgiska Chantal Akermans film Jeanne Dielman från 1975. Filmen kan liknas med Askungens bal; långtråkig, dötrist och alldeles underbar. Men är den värd förstaplatsen? Vi diskuterar även listan som sådan och andra filmer som tagit plats på den. Krille snackar konstnärlig prison break-film i form av Bressons En dödsdömd har rymt från 1956, Hille har kollat japansk folk-mystik i och med Mitzoguchis film Ugetsu från 1953 och Felix har spanat in den extremt stilbildande, experimentella och lekfulla Mannen med filmkamera från 1929 av Dziga Vertov. Dessutom hinner vi med Krilles egna lista över långa filmer samt lite uppsnack inför Göteborgs filmfestival i vårt kanske mest pretentiösa avsnitt så här långt.
On episode #37 of Floating Through Film, we conclude our series that was picked by Dany, Dziga Vertov! We begin the episode by concluding our thoughts on Vertov, and talking a little bit about what we got out of watching his films (1:13). He then explains why he picked two films not directed by Vertov to conclude a Dziga Vertov series, before reviewing the films themselves. The two films are Chris Marker's 1966 film, If I Had Four Dromedaries (16:53), and Mani Kaul's 1985 film, Mati Manas (37:19). We hope you enjoy! Movies We're Reviewing Next Week: Troll 2 (1990) + Red Notice (2021) Music: - Intro from If I Had Four Dromedaries (https://youtu.be/L5jZoxmiDag?t=2612) - Outro from Mati Manas (https://youtu.be/UjIF69DHvFA?t=5147) Hosts: Luke Seay (https://letterboxd.com/seayluke/), Blake Tourville (https://letterboxd.com/blaketourville/), and Dany Joshuva (https://letterboxd.com/djoshuva/)
On episode #36 of Floating Through Film, we continue our series that was picked by Dany, Dziga Vertov! After a brief discussion on our overall thoughts on the two films, we jump right into reviewing the two films for this week, 1930's Enthusiasm (2:10) and 1934's Three Songs About Lenin (37:39). We hope you enjoy! Movies We're Reviewing Next Week: If I Had Four Dromedaries (1966) + Mati Manas (1985) Music: - Intro from Enthusiasm (https://youtu.be/OYfAq-pSZSA?t=2607) - Outro from Three Songs About Lenin (https://youtu.be/mSfXW15bWCk?t=984) Hosts: Luke Seay (https://letterboxd.com/seayluke/), Blake Tourville (https://letterboxd.com/blaketourville/), and Dany Joshuva (https://letterboxd.com/djoshuva/)
On episode #35 of Floating Through Film, we continue our series that was picked by Dany, Dziga Vertov! After a brief discussion on our overall thoughts on the two films, we jump right into reviewing the two films for this week, 1928's The Eleventh Year (2:38) and 1929's Man with a Move Camera (16:50). We hope you enjoy! Movies We're Reviewing Next Week: Enthusiasm (1930) + Three Songs About Lenin (1934) Music: - Intro from first scene of Alloy's Orchestra's composition for Man with a Movie Camera (https://www.youtube.com/watch?v=7ZkvjWIEcoU&t=229s&ab_channel=AlphaM) - Outro from last scene of Alloy's Orchestra's composition for Man with a Movie Camera (https://www.youtube.com/watch?v=7ZkvjWIEcoU&t=229s&ab_channel=AlphaM) Hosts: Luke Seay (https://letterboxd.com/seayluke/), Blake Tourville (https://letterboxd.com/blaketourville/), and Dany Joshuva (https://letterboxd.com/djoshuva/)
On episode #34 of Floating Through Film, we start our new series that was picked by Dany, Dziga Vertov! After Dany introduces why he chose Vertov for a new series, the other 2 guys also give their initial thoughts on Vertov and the documentary form in general. We then jump right into reviewing Dany's picks for Week 1, Kino-Eye (7:54), and Stride, Soviet! (29:22), A Sixth Part of the World (43:26). We hope you enjoy! Movies We're Reviewing Next Week: The Eleventh Year (1928) + Man with a Movie Camera (1929) Music: - Intro from Early Summer - Outro from Michael Nyman's score for Vertov's A Sixth Part of the World (https://www.youtube.com/watch?v=9b3DBKdDP_A&ab_channel=Nymanite) Hosts: Luke Seay (https://letterboxd.com/seayluke/), Blake Tourville (https://letterboxd.com/blaketourville/), and Dany Joshuva (https://letterboxd.com/djoshuva/)
Jean Luc Godard morreu esta semana aos 91 anos. O cineasta produziu mais de 100 filmes, em 60 anos de carreira. Jean Luc Godard, o gigante, provocador e prolífico criador de cinema, foi um dos principais nomes da "Nouvelle Vague". O produtor português, Paulo Branco, afirma que Jean-Luc Godard "abriu-nos as portas e mostrou-nos que o cinema não tem limites". RFI: Jean Luc Godard foi fundador de uma estética e de uma linguagem, cujos ecos ainda se fazem sentir hoje. Que legado deixa Godard? Paulo Branco: Jean Luc Godard é uma pessoa a quem nós todos devemos tudo. Todos os cineastas, todos os produtores, todas as pessoas que trabalham no cinema, devemos-lhe tudo. Foi ele que, no princípio dos anos 60, nos abriu as portas e nos explicou como o cinema não tem limites. Ele, um dos grandes admiradores do cinema clássico e do cinema de Hollywood, permitiu que nos transformássemos, de uma certa maneira, abrindo-nos as portas para novas linguagens, novos riscos, na maneira de produzir, na maneira de realizar, em tudo. Na nossa visão. É absolutamente fundamental na história do cinema e uma personagem única. O cinema de Godard caracterizava-se pela mobilidade da câmara, pelos demorados planos-sequências, pela montagem descontínua, pela improvisação e pela tentativa de carregar cada imagem com valores e informações contraditórias... Sim e sobretudo um olhar. Um olhar que para ele é um olhar ético, um olhar em que o cinema é uma questão de moral, como para toda essa geração e que nos obriga, de uma certa maneira, a uma responsabilidade quando os realizadores filmam, como filmam e o que filmam. Que isso não é impune. É uma das coisas essenciais no cinema moderno e é isso que distingue, se quiser, os grandes filmes dos filmes quase obscenos, como se pode dizer, mesmo não tendo cenas obscenas. O olhar deles é obsceno e é isso que também nos condiciona como cinéfilos. É isso que nos faz ver o cinema como uma verdadeira arte e com a mesma exigência, a mesma atenção, que temos com as outras artes. Isso foi absolutamente essencial no legado dele e que nós todos aproveitámos. O realizador franco-suíço adoptou inovações narrativas e filmou com a câmara na mão, rompendo com todas as regras até então invioláveis. Qual foi o impacto dessas mudanças no mundo da sétima arte? Foi imenso! Ainda agora e também, ao mesmo tempo que ele fez isso, chamou-nos à atenção para a grandiosidade do cinema clássico, do cinema de Hollywood e dos grandes filmes, dos grandes cineastas que também ele admirava e que, de uma certa maneira, o inspiraram, dando-lhe o poder e a dimensão que tem. É um pouco o que o James Joyce trouxe à literatura com o Ulisses. É um pouco a mesma coisa. A relação que Jean Luc Godard tinha com o cinema era essa admiração, mas também o trair, entre aspas, todo o legado que ele tinha recebido. É isso que a partir de agora nós, neste momento também faremos. Haverá cineastas que, mais tarde ou mais cedo, também trairão, entre aspas, o legado Jean Luc Godard, de maneira a que o cinema prossiga a sua trajectória. A surpreender-nos sempre. Jean Luc Godard foi um dos criadores da Nouvelle Vague. Que filmes do realizador mais o marcaram nesta fase? Eu conheço praticamente toda a obra dele. Tive a sorte de conhecer pessoalmente em 1977 e a partir daí ter, até há muito pouco tempo, uma relação com ele. Não posso dizer que éramos amigos, mas acho que havia, da minha parte, um respeito enorme, uma admiração e da parte dele também, pelo meu trabalho. Eu sabia que ele via muitos filmes que eu tinha produzido e isso permitia, de vez em quando, diálogos. Logicamente mais monólogos do que diálogos porque eu estaria lá mais para aprender do que para ensinar o que quer que fosse. Tive essa sorte. Qualquer filme dele é um filme que me surpreende. Em qualquer filme dele encontro algo de novo para a minha vivência, não só como pessoa, mas também como cinéfilo. É difícil para mim, mas logicamente que o primeiro filme quando aparece -"À bout de souffle"- foi uma espécie de reviravolta completa naquilo que estávamos habituados a ver. Ele também no próprio cinema dele fez grandes rupturas, mas qualquer filme dele é, para mim, sempre uma fonte inesgotável de aprendizagem. Após o movimento estudantil do Maio de 68, Godard criou, com Jean-Pierre Goran, o grupo de cinema Dziga Vertov, em homenagem a um cineasta russo de vanguarda e virou-se para o cinema político. Pode dizer-se que era um realizador que estava em permanente revolução? Um militante? Não. Ele era uma pessoa que era um cidadão do mundo. Era uma pessoa que sentia o que se passava no mundo. Eu por acaso quando o vi, em 1977, foi para lhe pedir a autorização para passar esses filmes todos relativamente a este período, que ele tinha praticamente deixado de passar ou que não dava autorização. A mim deu-me e eu fiz isso no Action République, em Novembro de 77. Nestes períodos, de certa maneira, ele confunde-se com o colectivo, mas não verdadeiramente. O que lá está é dele. Ele deixava-se ser contestado no interior dos próprios filmes, mas deixou sempre momentos inesquecíveis, mesmo nestes filmes. São filmes mais de ruptura e mais datados no tempo, porém ainda agora impressionam quem os vê. A figura de Godard era uma figura muito controversa. Adorado e detestado, aliás esta dicotomia era um dos seus traços de personalidade…. Era uma pessoa coerente consigo própria e era uma pessoa, em termos artísticos, com uma enorme inteligência. Essas pessoas, não é uma questão de gostarem, de serem adulados ou detestados. Não é isso. Têm o seu trabalho, têm o seu percurso. Por vezes, há pessoas que deixam de lhes interessar ou pessoas que ele reencontra muitos anos depois. São percursos muito especiais. Não haver esta mediocridade que muitas vezes existe nas relações entre as pessoas, uma vez que há demasiado cinismo e demasiado coisas escondidas. Ele não aceitava isso. Há alguma deixa de um filme de Godard que lhe tenha ficado na cabeça e que queira partilhar connosco? Não. Ainda por cima, quase praticamente todas as deixas de Godart, ele foi buscá-las a outros, a maior parte deles a grandes livros. Portanto, se dissesse agora uma deixa de Godard estava não só a citar Godard, mas alguém que o próprio Godard cita. Nisso ele era um génio absoluto.
durée : 01:24:59 - Les Nuits de France Culture - Explorant les racines du cinéma soviétique jusqu'aux années 30, 40 et 50, cette émission interroge le parcours de ces grands cinéastes. Quel destin pour ces révolutionnaires du cinéma ? L'Ecole cinématographique soviétique des années 20 est caractérisée par son engagement politique, la conscience et la maîtrise théorique de sa pratique, ainsi que la volonté d'organiser des images-concepts signifiantes. Le montage est au centre des recherches formelles et futuristes. Ll'anti-esthétisme, la déconstruction et l'ambition de créer un romantisme de la rationalité capable de lier le sens de la vie au progrès scientifique et technique, les avant-gardes d'Octobre ont fourni la plupart des caractères dominants de la pensée cinématographique de l'Age d'or. * C'est Lev Vladimirovitch Koulechov qui, dans son laboratoire de l'Institut technique du cinéma (le futur VGKI), a affirmé que le montage "au cinéma correspond à l'organisation des couleurs dans la peinture ou à la succession harmonique des sons dans la musique". Dziga Vertov (1896- 1954), fondateur du ciné=oeil (Kinoglaz), du cinéma-vérité (Kino Pravada) s'appuie sur la théorie de "la fabrication des faits". Il proclame la condamnation à mort de l'art : le terme d'art est substantielement contre-révolution- naire. Le film n'est plus drame mais discours. Discours qui doit structuré selon les règles de l'éloquence politique, poétique ou didactique. Le plus célèbre d'entre eux, Serguei Mikhaïlovitch Eisenstein (1898-1948), établit les bases du montage polyphonique avec, entre autres dans sa fameuSe filmographie, l'oeuvre polyphonique unit le thème plastique à la musque pour atteindre l'harmonie suprême, "l'orgasme de la révolution". Les cinéastes révolutionnaires sont servis par les acteurs de la FEKS (1921-1931), fondé à Petrograd. Leur fracassant manifeste publié en 1922, "Excentrisme", pose les bases de leur "art poétique" destiné à annihiler l'art bourgeois, à imposer les valeurs de la culture "basse" et à dissoudre l'art dans la vie. Préparé par ces avant-gardes révolutionnaires, le réalisme socialiste est mis en place officiellement en 1934 lors du premier Congrès de la nouvelle "Association des écrivains et artistes soviétiques". Loin du romantisme révolutionnaire des débuts, c'est la norme et la légitimation du ralliement des artistes au pouvoir qui prédomine et organise la célébration du héros positif. Explorant ainsi les racines du cinéma soviétique jusqu'aux années 30, 40 et 50, cette émission interroge le parcours de ces grands cinéastes. Quel destin pour ces révolutionnaires du cinéma ? Ont-ils été avant tout des révolutionnaires politiques ? Comment ont-ils vécu la censure instauré dix jours à peine après le putsch de novembre 1917 ? En visite dans les studios Aquarium à Saint Pétersbourg, ou le studio Albatros à Montreuil en France, nous verrons comment le cinéma russe s'est fabriqué chez lui et à l'étranger. Avec des lectures d'extraits d'entretiens avec Eisenstein, Youtkevich, Vertov, etc. Par Alexis Ipatovstev Réalisation Jacques Taroni Ciné club - Les pionniers du cinéma soviétique 1ère diffusion : 05/11/1997
durée : 00:30:59 - Les Nuits de France Culture - Dans le volet 5/15 du "Roman du cinéma" de Claude-Jean Philippe réalisé par Jean-Christophe Averty, nous plongeons dans l'année 1929 en URSS avec Dziga Vertov et "L'Homme à la caméra" mais aussi à Paris au cinéma Max Linder pour découvrir "L'Argent" de Marcel L'Herbier.
Mandy is back to help me dissect this beloved classic book "Ways of Seeing" 1972 (and BBC TV show) by John Berger. Welcome back, Mandy! And, as always on Book Talks, much art-nerdery was indulged. Come along with us as we consider Berger's thoughts on Art: aka How it was changed by the age of reproduction, How the Nude functions as a tool for the Male Gaze, and How art is used as a status symbol for the wealthy, and in advertising to create Glamour. "Ways of Seeing" was created mainly by John Berger (writer/host), Michael Dibb (filmmaker), Delia Derbyshire (composer), and Richard Hollis (book designer) with help from others. The project was conceived specifically to "question some of the assumptions usually made about the tradition of European Painting. That tradition which was born about 1400, and dies about 1900.” In the TV series (and in direct contrast to Kenneth Clark's big budget show, “Civilisation”), Berger shows up against a slightly shabby blue screen in a partially unbuttoned white and brown patterned shirt (he bought it right before the shoot bc he had been wearing blue) with kind of wild curly hair (kinda like Michael Landon style), and in slacks…he's casual- he's scrappy - parts of the show were even assembled in his parent's living room. He's earnest, feminist, anti-capitalist and unlike the posh-speaking Clark, he has a slight speech impediment…and Berger is ready to burn it all to the ground. "Ways of Seeing," the book, is available at most bookstores and "Ways of Seeing," the BBC tv program, is available to stream for free on Youtube A few grateful shout-outs to writers who we used for research for this talk: Olivia Laing / The Guardian, Kate Abbott / The Guardian and Sam Haselby / Aeon.co John Berger's other books: His novel "G" and also books about art's role in contemporary society: "About Looking" and "The Shape of a Pocket" Extra shout-outs: Composer, Delia Derbyshire, "The Man with the Movie Camera" film by Dziga Vertov, poster by Alexander Rodchenko, Walter Benjamin's "The Work of Art in the Age of Mechanical Reproduction,” Eva Figes, book "Patriarchal Attitudes," Jane Kenrick, one of five who had been on trial for protesting against the 1970 Miss World contest, Laura Mulvey's “Visual Pleasure and Narrative Cinema,” Linda Nochlin's “Why Have There Been No Great Women Artists," "Landscape & Power" by WJT Mitchell, "Looking at the Overlooked" by Norman Bryson Send me a voice message on Speakpipe.com about what you love and dislike about NYC! I'll use the recording in a future ep about Marsden Hartley: https://www.speakpipe.com/peps Follow Pep Talks on IG: @peptalksforartists Donate to the Peps: Buy Me a Coffee or https://anchor.fm/peptalksforartistspod/support. Amy's website: https://www.amytalluto.com/ All music tracks and SFX are licensed from Soundstripe. --- Send in a voice message: https://anchor.fm/peptalksforartistspod/message Support this podcast: https://anchor.fm/peptalksforartistspod/support
durée : 00:30:59 - Le roman du cinéma - Claude-Jean Philippe 5/15 : Marcel L'Herbier et Dziga Vertov (1ère diffusion : 15/11/1985) - Par Claude-Jean Philippe - Raconté par Claude-Jean Philippe - Réalisation Jean-Christophe Averty
Kitchen Conversations for Ukraine was created to highlight the culture of Ukraine and spread information on how to help the country and its artists. Episode 4 was curated by Ukrainian artist and researcher based in The Netherlands: Yuliia Elyas 1. "Fieldwork in Ukrainian Sex" by Oksana Zabuzhko (book) 2. "In Isolation. Dispatches from Occupied Donbas" by Stanislav Aseyev (book) 3. "Enthusiasm: The Symphony of Donbas" by Dziga Vertov (film) - Help point for Ukrainian people in Utrecht, NL --> Help Ukraine Utrecht - Become a Patron of Kitchen Conversations: https://www.patreon.com/kitchenconversations Make a one time donation: https://www.paypal.com/donate/?hosted_button_id=53QSW2BLPWD4U Follow on Instagram: @patrycja.rozwora
before we find ourselves in the midst* of episode 106 of The Radio Hour That Feels like Two Hours, I much as i respect your right to your (screwy) opinions, I no longer wish to read another sentence about the many historical inaccuracies in Hulu's Count Bishops TV series. It's not a documentary, folks. If it were, it would've been directed by Dziga Vertov. There's no Count Bishops songs on this episode because the programs rights clearance department is an absolute disgrace.
Kazymyr Malevych, Oleksandr Arkhypenko, Sonia Delaunay, Oleksandra Exter, Dziga Vertov, Oleksandr Dovzhenko: these names from Ukrainian avant-garde art of the early 20th century enriched European and global art history. However, they are too often known in the world as “Russian avant-garde”. In this episode, we explain why it this is not the case. Volodymyr Yermolenko, chief editor of UkraineWorld.org, speaks with Tetyana Filevska, creative director of the Ukrainian Institute, and a well-known Ukrainian art historian and culture manager. This series about Ukrainian culture is made with support of the EU Delegation to Ukraine. Support us at patreon.com/ukraineworld
这次我们三刷两部充满了个人特色的纪录片，一部是1929年维尔托夫（Dziga Vertov）主要在基辅拍摄的「持摄像机的人」，第二部是1972年安东尼奥尼（Michelangelo Antonioni）在中国拍摄的「中国」。节目中提到的作品信息：纪录片「持摄影机的人」Man with Movie Camera ，维尔托夫纪录片「中国」Chun Kuo/Cina，安东尼奥尼记录片「意志的胜利」Triumph of the Will，莱妮·里芬施塔尔展览 Infinity Mirror Rooms, Tate Modern, 草间弥生维尔托夫的22部 Kinok Pravda，奥地利电影博物馆文化土豆聊安东尼奥尼的「扎布里斯基角」安东尼奥尼的疏离/爱情四部曲包括：「奇遇」、「夜」、「蚀」、「红色沙漠」，他的“革命圣地旅游”三部曲包括：「放大」、「扎布里斯基角」、「中国」文集「中国人民不可侮」艾科 Umberto Eco 评论「中国」的文章 The Difficulty of Being Marco Polo文章「最后的针刺麻醉」，温江文章「二十世纪七十年代电影《中国》引起的风波」，陈东林 See acast.com/privacy for privacy and opt-out information.
Jeet Kune Do, the martial arts philosophy founded by Bruce Lee has influenced the creation of modern mixed martial arts. He started as a child actor in the Hong Kong film industry and his five feature-length 1970s films helped change the way Asian performers were portrayed. Matthew Sweet and guests look at his career, focusing on the film Enter the Dragon, which is one of the most influential action films made. With Lee's biographer Matthew Polly, film historian Luke White, philosopher William Sin, and New Generation Thinker Xine Yao. Producer: Luke Mulhall You can now find a playlist on the Free Thinking website, Film on Radio 3: music, history, classics of world cinema. From Matthew Sweet on sound tracks to star performers through films which have created an impact to old favourites, including programmes on Marlene Dietrich, Asta Neilsen, Jacques Tati, Cary Grant, Bette Davis, Jean-Paul Belmondo, Satyajit Ray, The Tin Drum, Touki Bouki, Kurosawa, Dziga Vertov, 2001 A Space Odyssey, Penny Woolcock, Mike Leigh, Spike Lee. Plus Radio 3's regular exploration of The Sound of Cinema and classic soundtracks
Jackie and Greg discuss the highest-ranked documentary on the Sight & Sound list, Dziga Vertov's experimental montage film from 1929. Topics of discussion include the Kinoks collective, Vertov's newsreel background and his aversion to fiction, how meta the film is, the polarizing Alloy Orchestra score, and the playfulness of Vertov's city symphony. Why does Greg keep bringing up KOYAANISQATSI?#8 on Sight & Sound's "The 100 Greatest Films of All Time" list.https://www.bfi.org.uk/sight-and-sound/greatest-films-all-timeCheck us out at our official website: https://www.sceneandheardpod.comJoin our weekly film club: https://www.instagram.com/arroyofilmclubJP Instagram/Twitter: jacpostajGK Instagram: gkleinschmidtPhotography: Matt AraquistainMusic: Andrew CoxSpecial Thanks: Kathryn Ferentchak
Last weekend, Miles and John planned on recording a spoiler-filled take on Worst Person in the World. As we release the episode, we would like to offer a statement of solidarity with the Ukrainian people:"John and I firmly stand for the Ukrainian people facing a senseless war against Putin and his delusional and cruel regime. We strongly encourage you visit (for example) the NPR and Fortune Magazine's list of comprehensive resources to assist in any way you can, as well as to check social media as it seems new and increasingly direct ways to help appear every day. We wanted to take a moment to recognize that the Ukrainian culture, people, and art including their filmmaking, are a unique and rich identity from their neighbors and have listed some of note that you can watch at Criterion Channel, Netflix and elsewhere.Thank you, and if you yourself are in Ukraine, John and I are wishing you and your families, your pets, neighbors and community safety and that you may return home soon. We may be a world away but we are thinking of you and watching.-Miles F Ukrainian FilmmakersKira Muratova:Filmmaker whose work spans the Soviet and post-Soviet period. Films were heavily criticized and censored by Soviet authoritiesFrom Sight and Sound: “Her films challenge contemporary life in a profound and uncomfortable way. Muratova always held her finger on the pulse, or rather poked it into the open wounds – such deep-rooted flaws of human nature as evil and cruelty. Muratova's films possessed an inimitable lightness in a complex narrative fragmentation, seemingly stitched together with dialogues that expose the absurdity of speech.”Notable work:Brief Encounters (1967)Long Farewells (1971)Three Stories (1997)Second Class Citizens (2001)Alexander Dovzhenko:Import Soviet filmmaker alongside Sergei Eisenstein, Dziga Vertov, and Vsevolod Pudovkin. His film Earth (1930) is a must see!Alexander Rodnyansky:From Kyiv. Director of Leviathan (2014)Oleg Sentsov:Rhino (2019)Second Class Citizens (2001)Valentyn Vasyanovych:The Tribe (2014) – A MUST SEE FILM!Atlantis (2019)Reflection (2021)Maryna Er Gorbach:Klondike (2022) – released this yearNatalia Vorozhbyt:Bad Roads (2020)Nariman Aliev:Homeward (2019)Iryna Tsilyk:The Earth is Blue as an Orange (2020)Yuri Ilyenko:Cinematographer on Shadows of Forgotten Ancestors (Sergei Parajanov, 1965)The White Bird Marked with Black (1971)
WATCH IT HERE: https://www.youtube.com/watch?v=iYO_uyLqPu4&t=3137s Are AMVs proletarian or free fandom labor for multinational media companies? Where do Anime Music Videos sit in Hito Steyerl’s “an alternative economy of images” and can someone be the Dziga Vertov of AMVs? Are AMVs subjected to a particular nation state? This is the second session of Constructing the Real’s … Continue reading "Constructing the Real’s Art Worlds – Anime Music Videos: an Artform and Culture"
WATCH IT HERE: https://www.youtube.com/watch?v=iYO_uyLqPu4&t=3137s Are AMVs proletarian or free fandom labor for multinational media companies? Where do Anime Music Videos sit in Hito Steyerl’s “an alternative economy of images” and can someone be the Dziga Vertov of AMVs? Are AMVs subjected to a particular nation state? This is the second session of Constructing the Real’s … Continue reading "Constructing the Real’s Art Worlds – Anime Music Videos: an Artform and Culture"
Casi treinta años de registros fílmicos y transformación urbana están detrás de Berlín, sinfonía de una gran ciudad (1927), filme con que el alemán Walter Ruttmann gatilló todo un subgénero cinematográfico: películas en que la ciudad es protagonista. Con la cinta, Ruttmann pretendía expandir sus horizontes de realizador experimental, pero al mismo tiempo le dio un nuevo sentido al cine realizado en clave observacional (cuyos pioneros habían sido los operadores de Lumière), generando de paso multitud de imitadores, incluyendo uno que superaría el modelo original: El hombre con la cámara móvil (1928), de Dziga Vertov. Entre los muchos artistas influidos por Ruttmann se encuentran también los jóvenes cineastas que poco después emprendieron Gente en domingo (1930), vital registro de los últimos días de la inestable y borrascosa República de Weimar. Aunque en lo formal se trata de un producto de ficción, este jovial, certero y fascinante registro de un día primaveral en lo que por entonces era la capital más importante del mundo, tiene el sabor de lo vivido y experimentado de primera mano. Tal vez la respuestas está en la juventud de Robert Siodmak, Billy Wilder, Edgar Ulmer, Fred Zinnemann, cineastas que un día se convertirían en fogueados veteranos de Hollywood, pero que en esos intensos y frágiles días de principios de los treinta, antes de los nazis, antes de la paranoia y el horror, solo se debían ser fiel a sí mismos, a lo que veían y vivían en esas calles perservadas, indelebles, en estas imágenes.
Jan Henryk war in Amsterdam und zufällig war da das Idfa, das International Documentary Film Festival Amsterdam. Also hat er gleich drei Dokus gesehen: Ein Relikt aus der Frühzeit des Kinos: История гражданской войны (History of the Civil War) von Dziga Vertov aus dem Jahre 1921. Ein intimes Porträt über Sexualität, das Altern, den Ruhestand und Katzen: La dernière séance (The Last Chapter) von Gianluca Matarrese aus dem Jahre 2021. Und ein Blick auf die brutale Niederschlagung von Streiks im Polen des Jahres 1970 aus der Perspektive der Täter: 1970 von Tomasz Wolski aus dem Jahre 2021. Anschließend erzählt Ludwig vom Oscar-Preisträger The Father von Florian Zeller (aus dem Jahre 2020) und wir reden über das Altern und die Angst vor dem Verfall. Diese Folge lief zuerst bei ALEX Berlin.
Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. This week we look at some outstanding documentary highlights premiered at IDFA(International Documentary Festival Amsterdam), including Sergei Loznitsa's post-Soviet portrait Mr. Landsbergis and an exciting new voice in Diem Ha Le and her film Children of the Mist. Plus: 100-year-old Indian river boats, a Dziga Vertov premiere, egg collecting, and movies made entirely from living room windows. I'm joined by critic and journalist Eric Hynes, curator of film at Museum of the Moving Image and a regular on the podcast. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass
I recap and review Man with a Movie Camera (1929) directed by Dziga Vertov. You can find the full list of the BFI's Greatest Films here. Music: Dark Flashes by Shane Ivers - https://www.silvermansound.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
Apoyado en 35 horas de material fílmico captados durante los funerales de Josif Stalin —destinados originalmente a un filme llamado La gran despedida, que nunca vio la luz—, Sergei Loznitsa consigue una suerte de imposible: ir paso a paso construyendo un relato de catarsis colectiva y, al mismo tiempo, efectuar una feroz crítica de todo el proceso: la pompa a la que los jerarcas apelaron, la destreza de los cineastas que la captaron y la tragedia de un pueblo que al homenajear a su líder supremo está lamentando una suerte de orfandad, sin reponerse todavía para asimilar las inmensas atrocidades cometidas por el fallecido. Acaso la dimensión más dramática de Funeral de estado sea que está levantada a partir de los mismos criterios estéticos que alguna vez iluminaron las carreras de artistas como Dziga Vertov y Alexsandr Dovzhenko, pero lo que ellos visualizaron como un albur y un amanecer de la humanidad, aquí es enterrado, sellado, apagado y tapiado, como quien bloquea una pirámide impenetrable.
This People's School for Marxist-Leninist Studies class features a guest lecturer from the Arts and Culture Commission of the PCUSA. If you can get through the subpar audio quality (we apologize) in this episode, you're sure to learn something new! Interested in attending a class? Email info@psmls.org for more information No Literature Used In This Class Recommended Reading: Man & Socialism in Cuba by Che Guevara (1965) http://209.151.22.101/Cuba-Che/Guevar... Jews Without Money by Michael Gold (2004) No link available Recommended Viewing: Man with a Movie Camera by Dziga Vertov (1929) https://www.youtube.com/watch?v=cGYZ5... Recommended Listening: Risen from Ruins by Hanns Eisler (1949) https://www.youtube.com/watch?v=P1CyP... PSMLS Website: http://peoplesschool.org/contact/ Party of Communists USA Website: https://partyofcommunistsusa.org/about/ Timecode Key: (Q) = Question (A) = Answer / Response **S.R. = Socialist Realism** 0:00 Introduction 0:41 Opening Lecture 2:57 S.R. = synthesis of other art forms? (Q&A) 4:22 10 Days reference 4:58 S.R. vs. Cultural Revolution 5:45 Dialectical progression 6:22 3 trends in Soviet Art 10:12 Ultraleft connections to S.R.? (Q&A) 10:51 Progressive elements of S.R.? (Q&A) 12:30 Why is S.R. important? (Q&A) 13:30 Brutalism & Independence? (Q's&A's) 16:30 Musical examples 16:58 4 Guiding principles 20:37 Old vs. new Art contradictions? (Q&A) 22:50 Was modern art banned? (Q&A) 23:00 Art as a hobby? (Q&A) 23:50 Art under Khrushchev 24:33 Art after Khrushchev 24:57 Not just Russia 25:39 Lecture conclusion 28:11 Our contributions 29:26 L.A. Communist mural 29:45 Art and morality 30:48 Art and the masses 31:32 How to apply today? (Q&A) 32:26 U.S.S.R. & art 32:55 Art and the national question (Q&A) 33:31 Che Guevara quote 34:13 Soviet sound 34:27 Growth of culture 35:19 The Soviet man? (Q&A) 36:16 Diego Rivera 36:30 Hanns Eisler 37:18 Conclusion
It's 125 years since the birth of Dziga Vertov, the Russian documentary film and newsreel director. That's a good excuse, says WNYC's Sara Fishko, to look at his remarkable and pioneering 1920s film Man with a Movie Camera, the subject of this Fishko Files. (Produced in 2011) Man with a Movie Camera is streaming on Kanopy and Vudu and available to rent or buy on Amazon. Fishko Files with Sara Fishko Assistant Producer: Olivia BrileyMix Engineer: Wayne ShulmisterEditor: Karen Frillmann
Myroslav Shkandrij's Avant-Garde Art in Ukraine, 1910-1930: Contested Memory (Academic Studies Press, 2019) offers an insight into the development of the Ukrainian avant-garde, a topic which still remains unjustifiably understudied. The book is an important contribution to the reevaluation of the artistic legacies of the world-renowned artists: Kazimir Malevich, David Burliuk, Mykhailo Boichuk, Vadym Meller, Ivan Kavaleridze, and Dziga Vertov. As the title of the book prompts, the focus is made on the Ukrainian heritage and background that the above-mentioned artists manifested in and through their works. Here Shkandrij initiates an intervention into the scholarship that for many years dismissed the Ukrainian contribution when discussing the avant-garde development. Drawing attention to national and ethnic choices that the artists used to make, but which happened to be silenced or ignored in the subsequent critical reviews and investigations, the book, however, does not suggest to embrace a one-sided approach. Shkandrij balances the local and international contexts when outlining the Ukrainian color of the avant-garde artists that became recognized world-wide. Avant-Garde Art in Ukraine provides complex and multilayered milieus that help better understand how the Ukrainian pattern became to be dismissed or devalued in the conversations about the international avant-garde. The book welcomes a multifaceted approach to the discussion of how the artists developed their techniques, which seem to have responded to a multinational and multiethnic environment which appeared authentic for Ukraine at the beginning of the twentieth century. The subtitle of the book—contested memory—is a welcoming gesture towards further investigations of the Ukrainian avant-garde, which appears to be inherently grounded in a diversity of influences and overlaps that establish deep cultural bonds with the international movement. Learn more about your ad choices. Visit megaphone.fm/adchoices
Myroslav Shkandrij’s Avant-Garde Art in Ukraine, 1910-1930: Contested Memory (Academic Studies Press, 2019) offers an insight into the development of the Ukrainian avant-garde, a topic which still remains unjustifiably understudied. The book is an important contribution to the reevaluation of the artistic legacies of the world-renowned artists: Kazimir Malevich, David Burliuk, Mykhailo Boichuk, Vadym Meller, Ivan Kavaleridze, and Dziga Vertov. As the title of the book prompts, the focus is made on the Ukrainian heritage and background that the above-mentioned artists manifested in and through their works. Here Shkandrij initiates an intervention into the scholarship that for many years dismissed the Ukrainian contribution when discussing the avant-garde development. Drawing attention to national and ethnic choices that the artists used to make, but which happened to be silenced or ignored in the subsequent critical reviews and investigations, the book, however, does not suggest to embrace a one-sided approach. Shkandrij balances the local and international contexts when outlining the Ukrainian color of the avant-garde artists that became recognized world-wide. Avant-Garde Art in Ukraine provides complex and multilayered milieus that help better understand how the Ukrainian pattern became to be dismissed or devalued in the conversations about the international avant-garde. The book welcomes a multifaceted approach to the discussion of how the artists developed their techniques, which seem to have responded to a multinational and multiethnic environment which appeared authentic for Ukraine at the beginning of the twentieth century. The subtitle of the book—contested memory—is a welcoming gesture towards further investigations of the Ukrainian avant-garde, which appears to be inherently grounded in a diversity of influences and overlaps that establish deep cultural bonds with the international movement. Learn more about your ad choices. Visit megaphone.fm/adchoices
Myroslav Shkandrij’s Avant-Garde Art in Ukraine, 1910-1930: Contested Memory (Academic Studies Press, 2019) offers an insight into the development of the Ukrainian avant-garde, a topic which still remains unjustifiably understudied. The book is an important contribution to the reevaluation of the artistic legacies of the world-renowned artists: Kazimir Malevich, David Burliuk, Mykhailo Boichuk, Vadym Meller, Ivan Kavaleridze, and Dziga Vertov. As the title of the book prompts, the focus is made on the Ukrainian heritage and background that the above-mentioned artists manifested in and through their works. Here Shkandrij initiates an intervention into the scholarship that for many years dismissed the Ukrainian contribution when discussing the avant-garde development. Drawing attention to national and ethnic choices that the artists used to make, but which happened to be silenced or ignored in the subsequent critical reviews and investigations, the book, however, does not suggest to embrace a one-sided approach. Shkandrij balances the local and international contexts when outlining the Ukrainian color of the avant-garde artists that became recognized world-wide. Avant-Garde Art in Ukraine provides complex and multilayered milieus that help better understand how the Ukrainian pattern became to be dismissed or devalued in the conversations about the international avant-garde. The book welcomes a multifaceted approach to the discussion of how the artists developed their techniques, which seem to have responded to a multinational and multiethnic environment which appeared authentic for Ukraine at the beginning of the twentieth century. The subtitle of the book—contested memory—is a welcoming gesture towards further investigations of the Ukrainian avant-garde, which appears to be inherently grounded in a diversity of influences and overlaps that establish deep cultural bonds with the international movement. Learn more about your ad choices. Visit megaphone.fm/adchoices
Myroslav Shkandrij’s Avant-Garde Art in Ukraine, 1910-1930: Contested Memory (Academic Studies Press, 2019) offers an insight into the development of the Ukrainian avant-garde, a topic which still remains unjustifiably understudied. The book is an important contribution to the reevaluation of the artistic legacies of the world-renowned artists: Kazimir Malevich, David Burliuk, Mykhailo Boichuk, Vadym Meller, Ivan Kavaleridze, and Dziga Vertov. As the title of the book prompts, the focus is made on the Ukrainian heritage and background that the above-mentioned artists manifested in and through their works. Here Shkandrij initiates an intervention into the scholarship that for many years dismissed the Ukrainian contribution when discussing the avant-garde development. Drawing attention to national and ethnic choices that the artists used to make, but which happened to be silenced or ignored in the subsequent critical reviews and investigations, the book, however, does not suggest to embrace a one-sided approach. Shkandrij balances the local and international contexts when outlining the Ukrainian color of the avant-garde artists that became recognized world-wide. Avant-Garde Art in Ukraine provides complex and multilayered milieus that help better understand how the Ukrainian pattern became to be dismissed or devalued in the conversations about the international avant-garde. The book welcomes a multifaceted approach to the discussion of how the artists developed their techniques, which seem to have responded to a multinational and multiethnic environment which appeared authentic for Ukraine at the beginning of the twentieth century. The subtitle of the book—contested memory—is a welcoming gesture towards further investigations of the Ukrainian avant-garde, which appears to be inherently grounded in a diversity of influences and overlaps that establish deep cultural bonds with the international movement. Learn more about your ad choices. Visit megaphone.fm/adchoices
Myroslav Shkandrij’s Avant-Garde Art in Ukraine, 1910-1930: Contested Memory (Academic Studies Press, 2019) offers an insight into the development of the Ukrainian avant-garde, a topic which still remains unjustifiably understudied. The book is an important contribution to the reevaluation of the artistic legacies of the world-renowned artists: Kazimir Malevich, David Burliuk, Mykhailo Boichuk, Vadym Meller, Ivan Kavaleridze, and Dziga Vertov. As the title of the book prompts, the focus is made on the Ukrainian heritage and background that the above-mentioned artists manifested in and through their works. Here Shkandrij initiates an intervention into the scholarship that for many years dismissed the Ukrainian contribution when discussing the avant-garde development. Drawing attention to national and ethnic choices that the artists used to make, but which happened to be silenced or ignored in the subsequent critical reviews and investigations, the book, however, does not suggest to embrace a one-sided approach. Shkandrij balances the local and international contexts when outlining the Ukrainian color of the avant-garde artists that became recognized world-wide. Avant-Garde Art in Ukraine provides complex and multilayered milieus that help better understand how the Ukrainian pattern became to be dismissed or devalued in the conversations about the international avant-garde. The book welcomes a multifaceted approach to the discussion of how the artists developed their techniques, which seem to have responded to a multinational and multiethnic environment which appeared authentic for Ukraine at the beginning of the twentieth century. The subtitle of the book—contested memory—is a welcoming gesture towards further investigations of the Ukrainian avant-garde, which appears to be inherently grounded in a diversity of influences and overlaps that establish deep cultural bonds with the international movement. Learn more about your ad choices. Visit megaphone.fm/adchoices
Myroslav Shkandrij’s Avant-Garde Art in Ukraine, 1910-1930: Contested Memory (Academic Studies Press, 2019) offers an insight into the development of the Ukrainian avant-garde, a topic which still remains unjustifiably understudied. The book is an important contribution to the reevaluation of the artistic legacies of the world-renowned artists: Kazimir Malevich, David Burliuk, Mykhailo Boichuk, Vadym Meller, Ivan Kavaleridze, and Dziga Vertov. As the title of the book prompts, the focus is made on the Ukrainian heritage and background that the above-mentioned artists manifested in and through their works. Here Shkandrij initiates an intervention into the scholarship that for many years dismissed the Ukrainian contribution when discussing the avant-garde development. Drawing attention to national and ethnic choices that the artists used to make, but which happened to be silenced or ignored in the subsequent critical reviews and investigations, the book, however, does not suggest to embrace a one-sided approach. Shkandrij balances the local and international contexts when outlining the Ukrainian color of the avant-garde artists that became recognized world-wide. Avant-Garde Art in Ukraine provides complex and multilayered milieus that help better understand how the Ukrainian pattern became to be dismissed or devalued in the conversations about the international avant-garde. The book welcomes a multifaceted approach to the discussion of how the artists developed their techniques, which seem to have responded to a multinational and multiethnic environment which appeared authentic for Ukraine at the beginning of the twentieth century. The subtitle of the book—contested memory—is a welcoming gesture towards further investigations of the Ukrainian avant-garde, which appears to be inherently grounded in a diversity of influences and overlaps that establish deep cultural bonds with the international movement. Learn more about your ad choices. Visit megaphone.fm/adchoices
Myroslav Shkandrij’s Avant-Garde Art in Ukraine, 1910-1930: Contested Memory (Academic Studies Press, 2019) offers an insight into the development of the Ukrainian avant-garde, a topic which still remains unjustifiably understudied. The book is an important contribution to the reevaluation of the artistic legacies of the world-renowned artists: Kazimir Malevich, David Burliuk, Mykhailo Boichuk, Vadym Meller, Ivan Kavaleridze, and Dziga Vertov. As the title of the book prompts, the focus is made on the Ukrainian heritage and background that the above-mentioned artists manifested in and through their works. Here Shkandrij initiates an intervention into the scholarship that for many years dismissed the Ukrainian contribution when discussing the avant-garde development. Drawing attention to national and ethnic choices that the artists used to make, but which happened to be silenced or ignored in the subsequent critical reviews and investigations, the book, however, does not suggest to embrace a one-sided approach. Shkandrij balances the local and international contexts when outlining the Ukrainian color of the avant-garde artists that became recognized world-wide. Avant-Garde Art in Ukraine provides complex and multilayered milieus that help better understand how the Ukrainian pattern became to be dismissed or devalued in the conversations about the international avant-garde. The book welcomes a multifaceted approach to the discussion of how the artists developed their techniques, which seem to have responded to a multinational and multiethnic environment which appeared authentic for Ukraine at the beginning of the twentieth century. The subtitle of the book—contested memory—is a welcoming gesture towards further investigations of the Ukrainian avant-garde, which appears to be inherently grounded in a diversity of influences and overlaps that establish deep cultural bonds with the international movement. Learn more about your ad choices. Visit megaphone.fm/adchoices
Brandon and Tyler discuss their cinematic experience with Dziga Vertov's 1929 Experimental Film Documentary "Man with a Movie Camera" Follow us on on Twitter, @FilmFoilPodcast, and Facebook Brandon’s Twitter: @BrandoV2 Tyler’s Twitter: @TylerJRinne Music - "Golden Sunrise" by Josh Woodward. Free download: http://joshwoodward.com/ Elevator Music - "Local Forecast - Elevator Music" by Kevin Macleod: http://www.orangefreesounds.com/
Ep 56 peeks into the greatest pioneer, influencer of Cinema Verite style- Dziga Vertov- the great Russian innovator and theorist. Go watch- Man with a Movie Camera 1929 on YouTube. Email id: metaphysicallab@gmail.com/ whats app - 9324431451 Music- "Hard Boiled" by Kevin MacLeod (https://incompetech.com) License: CC BY (http://creativecommons.org/licenses/by/4.0/ You can follow us and leave us feedback on Facebook, Instagram, and Twitter @eplogmedia, For partnerships/queries send you can send us an email at bonjour@eplog.media. DISCLAIMER: The views expressed on all the shows produced and distributed by Ep.Log Media are personal to the host and the guest of the shows respectively and with no intention to harm the sentiments of any individual/organization. See omnystudio.com/listener for privacy information.
LADO B: ensaio-poema sobre “Isto não é um documentário”, de Marcos Siscar.Registro da trilha de “Um homem com uma câmera”, de Dziga Vertov. Citação do filme “Pravda”, do grupo Dziga Vertov (Godard). Citação do filme “No sex last night”, de Sophie Calle e Greg Shephard. Citação de entrevista de Jonas Mekas. Voz: Piero Eyben. Sonoplastia, mixagem e trilha-sonora: Camille Ruiz.
We're kicking it old school this week. What a treat this one was, the 1929 silent documentary Man With a Movie Camera by director Dziga Vertov. This documentary paved the way for all kinds of cinematography techniques and was completely ground breaking for it's time. If you're a cinephile or just love old school cool this doc is right up your alley.
"You don't find reality only in your own backyard, you know," Stanley Kubrick once told an interviewer. "In fact, sometimes that's the last place you'll find it." Oddly, this episode of Weird Studies begins with Phil Ford hatching the idea of putting a replica of the monolith from 2001 in his backyard. As the ensuing discussion suggests, this would amount to putting reality -- or the Real, as we like to call it -- in the place where it may be least apparent. Perhaps that is what Kubrick did when he planted his monolithic film in thousands of movie theatres back in 1968. Moviegoers went in expecting a Kubrickian twist on Buck Rogers; they came out changed by the experience, much like the hominids of great veld in the "Dawn of Man" sequence that opens the film. This is what all great art does, and if you look closely, maybe 2001 can tell you something about how it does it. Because in the end, the film is the monolith, and the monolith is all art. REFERENCES Stanley Kubrick (dir.), 2001: A Space Odyssey (https://www.imdb.com/title/tt0062622/) Arthur C. Clarke, "The Sentinel" (https://en.wikipedia.org/wiki/The_Sentinel_(short_story)) Arthur C. Clarke, 2001: A Space Odyssey (https://www.foliosociety.com/ca/2001-a-space-odyssey.html) (novel) Clement Greenberg (https://en.wikipedia.org/wiki/Clement_Greenberg), American art critic Stanley Kubrick (dir.), The Shining (https://www.imdb.com/title/tt0081505/) Sergei Eisenstein, [Film Form: Essays in Film Theory](https://www.amazon.com/Film-Form-Essays-Theory/dp/0156309203/ref=pdlpo14t0/147-0144282-1131014?encoding=UTF8&pdrdi=0156309203&pdrdr=37cf94c0-adb2-4fc2-bbfa-91b00773da7f&pdrdw=CdtxC&pdrdwg=jkLXJ&pfrdp=7b36d496-f366-4631-94d3-61b87b52511b&pfrdr=9KCP3Y7C1RPE4XDH7N9D&psc=1&refRID=9KCP3Y7C1RPE4XDH7N9D)_ Weird Studies episode 62: It's Like "The Shining," But With Nuns: On "Black Narcissus" Ligeti, Atmosphères Gerard Loughlin, [Alien Sex: The Body and Desire in Cinema and Theology](https://books.google.ca/books?id=5WZwCtrqJ8kC&pg=PA73&rediresc=y#v=onepage&q&f=false)_ Jay Weidner, Kubrick's Odyssey: Secrets Hidden in the Films of Stanley Kubrick (https://www.amazon.ca/Kubricks-Odyssey-Secrets-Hidden-Films/dp/B004PF0FJM) Rob Ager's analysis (https://www.collativelearning.com/2001%20analysis%20new.html) of 2001 (Ager was criticized for not citing Loughlin above) Eric Norton's Playboy interview (https://scrapsfromtheloft.com/2016/10/02/playboy-interview-stanley-kubrick/) with Stanley Kubrick J. F. Martel, "The Kubrick Gaze" (https://www.amazon.com/Toward-2012-Perspectives-Next-Age/dp/B002PJ4L72) in Daniel Pinchbeck & Ken Jordan (eds.), Toward 2012: Perspectives on the Next Age J. F. Martel, "The Future is Immanent: Speculations on a Possible World" (https://realitysandwich.com/149962/the-future-is-immanent-speculations-on-a-possible-world/) Henri Bergson, The Two Sources of Morality and Religion (https://plato.stanford.edu/entries/bergson/) Sid Meier's Civilization V (https://civilization.com/civilization-5/) Stanley Kubrick (dir.), Dr Strangelove or How I Learned to Stop Worrying and Love the Bomb (https://www.imdb.com/title/tt0057012/) Stanley Kubrick (dir.), A Clockwork Orange (https://www.imdb.com/title/tt0066921/) Dziga Vertov, Kino-Eye: The Writings of Dziga Vertov (https://www.amazon.com/Kino-Eye-Writings-Dziga-Vertov/dp/0520056302) Marshall McLuhan, [Understanding Media](https://en.wikipedia.org/wiki/UnderstandingMedia)_ Martin Heidegger, "The Question Concerning Technology" (https://en.wikipedia.org/wiki/The_Question_Concerning_Technology) Gilbert Ryle, "Improvisation" (https://academic.oup.com/mind/article-abstract/LXXXV/337/69/974404?redirectedFrom=PDF)
Cannes 2020: Den alternative Cannes-festivalen er over midtveis, og i denne sjette podkastepisoden diskuterer panelet en ny samling filmer, som inkluderer Mikhail Kalatozovs Gullpalme-vinner Og tranene flyr (1957), Henri-George Clouzots Grand Prix-vinner Mysteriet Picasso (1956) og Jean-Luc Godards didaktiske Le vent d’est (1970).Og tranene flyr er av mange ansett som selve hovedverket til den georgisk-sovjetiske regissøren Mikhail Kalatozov, og filmen har gjort dypt inntrykk på vårt panel. Det har også Clouzots eksperimentelle Picasso-dokumentar gjort, men på en helt annen måte, naturligvis.Videre diskuterer vi i hvilken grad Godards arbeider med Dziga Vertov-gruppen har tålt tidens tann, og om Richard Kellys Southland Tales (2006) fremstår som profetisk, fjorten år etter skandalepremieren i Cannes?Rundt det virtuelle rundebord sitter Karsten Meinich, Lars Ole Kristiansen og Erik Vågnes.God lytting!
O Podcast Filmes Clássicos se aventura num gênero pouquíssimo lembrado na podosfera brasileira: Fred, Alexandre e Marcelo Rennó discutem o "cinema documentário", suas origens, seus tipos, subgêneros, contribuição para a sétima arte e ainda indicam uma penca de filmes para você que ainda não está apaixonado por esta modalidade de cinema. Como de costume, escolhemos alguns filmes centrais para criar a estrutura do episódio: "Nanook, O Esquimó" (Nanook of the North, 1922) de Robert Flaherty, "Um Homem com Uma Câmera" (Chelovek s kino-apparatom, 1929) de Dziga Vertov, "Primárias" (Primary, 1960) de Robert Drew e "Os Documentários Up!" (The Up! Series, 1964-2019) de Paul Almond & Michael Apted. ---------------------- Acesse nosso site: http://www.filmesclassicos.com.br Acesse nosso grupo: https://www.facebook.com/groups/1475312462775785/ Nos procure no seu aplicativo de podcast do celular, no Spotify, YouTube, Anchor ou iTunes.
durée : 00:59:58 - Plan large - par : Antoine Guillot - Sabotage, maoïsme et vidéo : plan large sur le cinéma politisé et expérimental de Jean-Luc Godard, celui des années 1970 - et notamment du groupe Dziga Vertov - qui a mis en crise les procédures du cinéma et inventé une manière politique d'en faire, par l'autocritique même de cette pratique. - réalisation : Séverine Cassar - invités : David Faroult réalisateur et maître de conférences en cinéma à l'École Nationale Supérieure Louis-Lumière; Jean-Paul Fargier Cinéaste, critique de cinéma; Fernando Ganzo Rédacteur en chef du magazine "So Film"
durée : 00:59:58 - Plan large - par : Antoine Guillot - Sabotage, maoïsme et vidéo : plan large sur le cinéma politisé et expérimental de Jean-Luc Godard, celui des années 1970 - et notamment du groupe Dziga Vertov - qui a mis en crise les procédures du cinéma et inventé une manière politique d'en faire, par l'autocritique même de cette pratique. - réalisation : Séverine Cassar - invités : David Faroult réalisateur et maître de conférences en cinéma à l'École Nationale Supérieure Louis-Lumière; Jean-Paul Fargier Cinéaste, critique de cinéma; Fernando Ganzo Rédacteur en chef du magazine "So Film"
Once “too revolutionary”, Dziga Vertov's avant-garde masterpiece is now felt in Man on Fire, Ratatouille and Inception. The post 338. Man with a Movie Camera appeared first on Steven Benedict.
Have you ever wondered where the montage came from? Do you enjoy hearing Ethan plug theatre in an episode about cinema? Do you never tire of hearing Justin defend Stalin even when he clearly did some things wrong? Then you will LOVE this raucous and informative episode on the history of film and cinema within the Soviet Union (and a bit before)! *CORRECTION* While Prussia was a principality in the HRE, Prussia was never part of the Austro-Hungarian Empire. Our bad! If you haven't already, you can help the show improve over at www.patreon.com/prolespod and in return can get sweet pins, access to our spicy discord, exclusive episodes, pick your own, guest appearances! All kinds of great stuff. Please subscribe on your favorite podcast apps and rate or review to help extend our reach. Like and rate our facebook page at facebook.com/prolespod and follow us on Twitter @prolespod. If you have any questions or comments, DM us on either of those platforms or email us at prolespod@gmail.com All episodes prior to episode 4 can be found on YouTube, so go check that out as well! Outro Music: "At Dawn" by Alyens Sources/Suggested Reading/Viewing: Further reading: Kino: A History of the Russian and Soviet Film, Jay Leyda The Red Screen: Politics, Society, Art in Soviet Cinema, ed. Anna Lawton Ways of Seeing, John Berger Directory of World Cinema: Russia, Birgit Beumers Film viewing: Battleship Potemkin, Sergei Eisenstein (1925) Man With A Movie Camera, Dziga Vertov (1929) October: Ten Day That Shook The World, Sergei Eisenstein (1928) Volga-Volga, Grigori Aleksandrov (1938) Solaris, Andrei Tarkovsky (1972) Moscow Doesn't Believe In Tears, Vladimir Menshov (1980)
Apprendre des choses en regardant un film, ressentir ou vibrer sur un sujet d’actualité. Il y a bien des enjeux dans le documentaire, et nous espérons pouvoir partager avec vous quelques belles trouvailles. Les documentaires mentionnés Point historique : 1922 Nanouk l’Esquimau de Robert Flaherty 1929 L’homme à la caméra de Dziga Vertov 1958 Cinéma Direct 1969 Groupe de recherche et d’essais cinématographique (Grec) créé par Jean Rouch, Pierre Braunberger et Anatole Dauman. Documentaristes évoqués: Dziga Vertov, Jean Rouch, Alain Cavalier, Raymond Depardon, Agnès Varda, Michael Moore Les Making off devenus documentaires : Jim et Andy de Chris Smith Lost in la Mancha de Keith Fulton et Louis Pepe Lost Soul – The Doomed Journey Of Richard Stanley’s Island Of Dr. Moreau de David Gregory Fucking Kassovitz de François-Régis Jeanne Focus documentaires naturalistes : Jean Rouch et le cinéma direct. Titicut Follies de Frederick Wiseman Basic Training de Frederick Wiseman Les Plages d’Agnès de Agnès Varda Sounds like Teen Spirit de Jamie Jay Johnson La Vie moderne de Raymond Depardon Dernières nouvelles du Cosmos de Julie Bertuccelli Douze jours de Raymond Depardon Les documentaires à charge : Inside Job de Charles H. Ferguson Bowling for Columbine de Michael Moore Amanda Knox de Rod Blackhurst, Brian McGinn Pour un seul de mes deux yeux de Avi Mograbi Nostalgie de la Lumière de Patricio Guzmán Docu-fiction et fiction flirtant avec le documentaire: Waco de David Thibodeau & Leon Whiteson (mini-série) La Bombe (The War Game) de Peter Watkins Le jour d’après de Rob Minkoff (mini série) Pili de Leanne Welham Les recommandations Charlotte: The Jinx de Andrew Jarecki Antoine: La gueule de l’emploi de Didier Cros Sophie: On n’a pas retrouvé la référence, alors bonne chasse sur internet ! Crédits musicaux & extraits Générique : Lemon de Double Dragon (https://double-dragon.bandcamp.com/album/double-dragon)
Andrew Kötting is a unique voice in British Audio-Visual culture and after seeing and admiring much of his work it was a great pleasure to welcome him onto the podcast to introduce his enigmatic new film Lek and the Dogs. Loosely based Hattie Naylor's play Ivan and the Dogs, itself the true story of a Russian child abandoned to Moscow streets to be 'raised' by the cities stray dogs, the film is both intensely personal but perhaps more concerned with grand social and philosophical questions that his previous work. The third in his 'Earthworks' trilogy, Lek brings Kötting's trademark eclecticism in both visual and aural style and in terms of the cinematic, artistic and literary references he mines. Samuel Beckett, Montaigne, Tarkovsky, Margaret Atwood, Plato, Nicolas Roeg, John Berger, Dziga Vertov, among many others, are all points of reference in this unique cinematic essay. Dario is joined by Andrew Kötting at his local cinema, The Electric Palace in Hastings, for a very special screening and a wide ranging discussion about the film and his creative work. The film can be viewed on MUBI until the 7th of July. Show notes Ben Nicholson's review of Lek and the Dogs in Sight and Sound Kermode Uncut: The Kotting Club *This episode contains strong language.
El principio del cine-ojo es volver todo del revés, manipular la realidad para crear una nueva forma de cine. Vertov, el autor soviético futurista, el artista de vanguardia que funde la cámara con el ojo humano. Es el cine ojo, la manipulación del montaje, la sucesión de planos, la yuxtaposición crea una nueva visión, un nuevo arte de geometrías libres. Vertov siente el cine como el torbellino de la existencia, la celebración de una ciudad que se despereza, de una mujer que despierta. Vertov nos muestra en montaje paralelo a una joven vistiéndose y a una ciudad que amanece. La sinfonía urbana congrega al público en un teatro donde se va a representar la propia obra. Con la cooperación de su hermano Mikail Kauffmann, el hombre de la cámara. Gira y gira la manivela, su misión, filmar, descubrir, construir el relato del hombre nuevo a un ritmo vertiginoso. La montadora, su esposa, Elizabeta Svilova, ensambla esos planos impresionantes, de perros disecados, trenes veloces, edificios, playas, teléfonos, maniquíes, fábricas... Romper con la literatura, el teatro, con lo anterior, con lo rancio, encontrar un nuevo cauce, comunicar una idea a alguien que espera, compartir su entusiasmo con un receptor universal. Raúl Gallego Esta noche asistimos impresionados al trucaje del artefacto... José Miguel Moreno presenta, Manuel Broullón, Paco Bellido y Raúl Gallego desde su búnker.
In this episode we enter the world of Alex Garland's Annihilation and engage in a little Russian collusion of our own by discussing the work of Andre Tarkovsky and Dziga Vertov. Also, notes on The Death of Cinema!
What is gentrification? How far are artists complicit - wittingly or not - in processes of social cleansing? What can artists do to fight it? Juliet talks to artist-academic Alberto Duman (http://www.albertoduman.me.uk/main.htm) and 'Savage Messiah' author/artist Laura Grace Ford (http://lauraoldfieldford.blogspot.co.uk/) about gentrification, and the role of artists within it. WORKS REFERENCED Colouring in Culture - http://colouringinculture.org/ #NovaraFM on decapitalism - http://novaramedia.com/2017/12/17/nina-power-decapitalism/ Agit-train (Dziga Vertov & Aleksandr Medvdkin) - https://en.wikipedia.org/wiki/Agit-train Archigram, Plug-In City - https://www.archdaily.com/399329/ad-classics-the-plug-in-city-peter-cook-archigram Walter Benjamin Embassy Court (Brighton) - http://www.embassycourt.org.uk/ Mark Fisher (k-punk) on rave - http://k-punk.abstractdynamics.org/archives/009782.html RICHARD FLORIDA, The Rise of the Creative Class (2002) - https://en.wikipedia.org/wiki/Creative_class Walter Gropius Stewart Home - 'Keep Hackney crap' - http://www.uncarved.org/blog/2009/08/keeping-hackney-crap/ ANTHONY ILES & J. BERRY SLATER, No Room to Move: Radical Art and the Regenerate City (2009) - http://www.metamute.org/editorial/articles/no-room-to-move-radical-art-and-regenerate-city JANE JACOBS, The Death and Life of Great American Cities (1961) Fredric Jameson Huw Lemmey - https://www.theguardian.com/profile/huw-lemmey GAVIN MUELLER, 'Liberalism and Gentrification' - https://www.jacobinmag.com/2014/09/liberalism-and-gentrification/ DOUGLAS MURPHY, Last Futures (2016) - https://www.theguardian.com/books/2016/jan/13/last-futures-douglas-murphy-review ALISON & PETER SMITHSON, Robin Hood Gardens - https://www.youtube.com/watch?v=UH5thwHTYNk John Wild - http://www.codedgeometry.net/johnwild/
Na edição #8 do Em Foco, em ocasião do centenário da Revolução Russa, discutimos a importância do cineasta Dziga Vertov e o seu filme mais conhecdo "Um Homem com uma Câmera" (Chelovek s kino-apparatom, União Soviética, 1929). Participam deste programa: Renato Silveira, Ana Lúcia Andrade, Antônio Tinôco e Stephania Amaral. Nossa convidada é Erika Savernini, professora de cinema da UFJF (Universidade Federal de Juiz de Fora). Edição e mixagem de áudio: Eduardo Garcia. No Em Foco, você ouve debates e análises de filmes, sejam eles clássicos, grandes sucessos de bilheteria e de crítica, produções que marcaram época ou que foram redescobertas com o passar dos anos, não importa o país de origem. Além disso, você revisita conosco a filmografia de cineastas que deixaram sua assinatura na história do cinema. O post EM FOCO: Dziga Vertov, “Um Homem com uma Câmera” (1929) apareceu primeiro em cinematório.
Clique para reproduzir em uma nova janela | Download Assine o nosso feed de podcasts: RSS | iTunes | Android Também no: Spotify | Google Podcasts | YouTube | TuneIn Na edição #8 do Em Foco, em ocasião do centenário da Revolução Russa, discutimos a importância do cineasta Dziga Vertov e o seu filme mais conhecido, “Um Homem com uma Câmera” (Chelovek s kino-apparatom, União Soviética, 1929). Participam […] O post EM FOCO: Dziga Vertov, “Um Homem com uma Câmera” apareceu primeiro em cinematório.
Na edição #8 do Em Foco, em ocasião do centenário da Revolução Russa, discutimos a importância do cineasta Dziga Vertov e o seu filme mais conhecdo "Um Homem com uma Câmera" (Chelovek s kino-apparatom, União Soviética, 1929). Participam deste programa: Renato Silveira, Ana Lúcia Andrade, Antônio Tinôco e Stephania Amaral. Nossa convidada é Erika Savernini, professora de cinema da UFJF (Universidade Federal de Juiz de Fora). Edição e mixagem de áudio: Eduardo Garcia. No Em Foco, você ouve debates e análises de filmes, sejam eles clássicos, grandes sucessos de bilheteria e de crítica, produções que marcaram época ou que foram redescobertas com o passar dos anos, não importa o país de origem. Além disso, você revisita conosco a filmografia de cineastas que deixaram sua assinatura na história do cinema. O post EM FOCO: Dziga Vertov, “Um Homem com uma Câmera” (1929) apareceu primeiro em cinematório.
"The greatest documentary of all time"? Michael Nyman, Alexei Popogrebsky, Ian Christie and Larushka Ivan-Zadeh join Matthew Sweet to discuss Dziga Vertov's 1929 film, Man with a Movie Camera, which was voted top of a poll conducted by Sight and Sound Magazine. Vertov's film is a kind of cinematic symphony of urban life in the Soviet Union. It fizzes with ideas and is the embodiment of the notion that cinema can promote revolutionary consciousness. For some its an achievement to set along side the films of Eisenstein. Both could lay claim to being the greatest film maker of their time and their friendship ended in rivalry. Man with a Movie Camera counts amongst its admirers the novelist, Salman Rushdie and the enfant terrible of the French New Wave, Jean-Luc Godard.Michael Nyman has composed scores for the three major films that the pioneering Soviet filmmaker Dziga Vertov made in the late 1920s and is now working on an opera about Vertov. Ian Christie is Professor of Film and Media History at Birkbeck University London. He is co-editor, with Richard Taylor, of The Film Factory: Russian and Soviet Cinema in Documents 1896-1939 and Eisenstein rediscovered. Larushka Ivan-Zadeh is chief film critic for the Metro newspaper. Alexei Popogrebsky is a film director and screenwriter whose work includes How I Ended this Summer and Prostye veshchi. Plus, on the website you can find Salman Rushdie's comments about watching the film. Part of Radio 3's Breaking Free: A Century of Russian Culture Producer: Zahid Warley
Warning: The profanity here is heavier than Grandma Vladlena's borscht! The Finleys have a sometimes contentious, sometimes enlightening discussion about two Vertov films: Man with a Movie Camera (1929) and Enthusiasm! (1931). Please support us on Patreon.
One hundred years after the Russian Revolution, the intellectual and ideological nature of the art and culture produced between October 1917 and the collapse of the Soviet Union in 1991 remained hotly debated and, at times, poorly understood. Here, Juliet Jacques welcomes writer/critics Maria Chehonadskih, Owen Hatherley (author of Militant Modernism (2009), Landscapes of Communism (2015) and The Chaplin Machine (2016)) and Ilia Rogatchevski to discuss the cultural legacy of the Soviet period and challenge Western preconceptions about the relationship between art and politics in the former USSR, from the Constructivist energy of the 1920s and imposition of Socialist Realism under Stalin, all the way through to the underground art movements of the 1980s. WORKS REFERENCED: Maria Chehonadskih on Pussy Riot – https://www.radicalphilosophy.com/commentary/what-is-pussy-riots-idea Adam Curtis on Vladislav Surkov - https://www.youtube.com/watch?v=Od4MWs7qTr8 SERGEI M. EISENSTEIN, Aleksandr Nevsky (1938) SERGEI M. EISENSTEIN, Ivan the Terrible (Parts I & II) (1944-1958) SERGEI M. EISENSTEIN, October (Ten Days That Shook the World) (1928) EVALD ILYENKOV (Soviet theorist) - https://www.marxists.org/archive/ilyenkov/ ILYA & EMILIA KABAKOV (Moscow Conceptual School) - https://ilya-emilia-kabakov.com/ VITALI KOMAR (Sots Art founder) - http://www.komarandmelamid.org/ MIKHAIL LIFSHITZ(Soviet philosopher) - https://thecharnelhouse.org/2014/12/15/art-is-dead-long-live-art-mikhail-lifshitz-on-karl-marxs-philosophy-of-art/ EDUARD LIMONOV (National Bolshevik Party) CHRIS MARKER, The Last Bolshevik (1993) - https://www.independent.co.uk/arts-entertainment/film-happiness-is-making-a-bolshevik-laugh-1459870.html VLADIMIR MAYAKOVSKY, '150,000,000' (1919-1920) - https://en.wikipedia.org/wiki/150_000_000 VLADIMIR MAYAKOVSKY, The Bathhouse (1929) - https://en.wikipedia.org/wiki/The_Bathhouse VLADIMIR MAYAKOVSKY, The Bedbug (1928) - http://snoowilson.co.uk/The%20Bedbug.pdf ALEKSANDR MEDVEDKIN (Soviet filmmaker) - https://en.wikipedia.org/wiki/Aleksandr_Medvedkin Deimantas Narkevičius (Lithuanian filmmaker/artist) YURI OLESHA, Envy (1927) - https://godsavethetsar.wordpress.com/2015/08/04/dont-laugh-andrei-petrovich-yuri-oleshas-envy/ VIKTOR PELEVIN (Russian author) BORIS PILNYAK, The Naked Year (1928) - http://www.overlookpress.com/ardis/naked-year-1.html ANDREI PLATONOV, The Foundation Pit (1930) - https://en.wikipedia.org/wiki/The_Foundation_Pit ABRAM ROOM, Bed and Sofa (1927) - http://www.calvertjournal.com/articles/show/1339/film-club-sofa-and-bed-abram-room VLADIMIR SOROKIN (Russian author) VLADIMIR TATLIN, Letatlin – http://www.atlasobscura.com/articles/the-birdlike-soviet-flying-machine-that-never-quite-took-off VLADIMIR TATLIN, 'Monument to the Third International' (1919-1920, unbuilt) DZIGA VERTOV, The Eleventh Year (1928) - https://www.youtube.com/watch?v=SSve8HNjZ4Y DZIGA VERTOV, Enthusiasm: Symphony of the Donbass (1930) - https://www.youtube.com/watch?v=vUInm2dC6Ug DZIGA VERTOV, Kino-Pravda (1920s) - https://www.youtube.com/watch?v=J0SJyLX9MgQ DZIGA VERTOV, Man with a Movie Camera (1929) DZIGA VERTOV, Stride, Soviet! (1926) - https://www.youtube.com/watch?v=ILG1_ceQCzE DZIGA VERTOV, Three Songs of Lenin (1934) - https://www.youtube.com/watch?v=x66SYdygrpE VOINA, phallus on Liteiny Bridge, St. Petersburg - https://www.theguardian.com/artanddesign/2011/apr/12/voina-art-terrorism
Liner notes: Acrosynaxis (2006) [2:11] Acrosynaxis, Anthony Ptak. Utilizing the theremin principle of interference to feed back into itself an exponential deconstruction of the instrument, the frequency of oscillation along a unified temporal axis, reflects a recursive bridging of distance in a soundscape of interference. Much like the 1000th of a second captured image of Warrick's hovering hummingbird, or the Kino-Glaz reality 24 times per second delineated by Dziga Vertov, or John Cage's Future of Music Credo which alludes to Beethoven as a material operating at 50 times per second and rejects imitative use of the theremin. This electro-acousmatic work concentrates on sound as a carrier of information. - AJ Ptak
Playliste de Rainier Lericolais pour webSYNradio : DENSITY, avec les sons de Firmin Gémier, Joji Yuasa, Ryoji Ikeda, Grauzone , Boris Yankovsky, Peter ablinger, Morton Feldman, Coil, Chris Marker, Peter Roehr, Matsuo Ohno, Antonin Artaud, Rainier Lericolais, Pierre Schaeffer, Yoji takahashi, Michael Esposito, Monique Canon, Entre rose + Staples, Henri Georges Clouzot, The Bloop, Psychic Tv, Shūji Terayama, Jane and burton, Jaques Mesrine, Dziga Vertov, Jack White, Paul Hindemith, Emile Loubet, Vanessa Paradis
Hace un par de semanas falleció este cineasta alemán. Su obra abarcó más de cuatro décadas, donde cubrió cortos conceptuales de agitación política como los que hacía Godard con el grupo Dziga Vertov; pasó por los desvariados ensayos visuales y conceptuales al estilo Marker, y terminó con obras más simples y despojadas donde registró ciertos procedimientos clave de las modernas sociedades capitalistas. La imagen como simulación, como registro de lo que será destruido, como herramienta de propaganda e incluso como forma de gobierno son algunos de los muchos temas que aborda Farocki, con un distanciado talante cerebral que pone a sus cintas a medio camino entre el documental y la instalación. De eso y más hablamos en el podcast.
Hey guys! Ever wonder what that creepy eyeball at the top of our showpage is all about? Well wonder no more, just as soon as you listen to our latest episode. For this edition, we are once again joined by Jeffrey Ashkin to discuss the number 8 movie on the Sight and Sound Critics' Poll, Dziga Vertov's MAN WITH A MOVIE CAMERA. Dziga Vertov's 1929 silent classic is the first documentary on the list. So to celebrate both our first documentary, and our very first seamless transition between topics, we spend some time talking about our favorite documentaries and how the form has changed over the years. Then we finish off with a final note of positivity.
Nominada en 2012 entre las 10 mejores películas de la historia, El hombre de la cámara (1929) es mucho más que un documental sobre la vida en la ciudad. También es un registro único de los inicios del Siglo XX y de la marea de cambios que llamamos "modernidad"; pero sobre todo un examen frontal de la condición humana, y de nuestra capacidad, voluntad y deseo de mirar, mirar sin parar. De eso y otras cosas trata este podcast.
Programme de Nicolas Moulin pour webSYNradio : avec par ordre alphabétique et dans un ordre d'écoute aléatoire : pacific 231 & john duncan, ADLIB, ALIREZA MASCHAYEKI, ANTHOLOGY OF SOVIET JAZZ 1939-1945, Anthony Pateras & Robin Fox, ANTHONY ROTHER, Aoki, APHEX TWIN, ARPANET, Ash Ra Tempel, ATOM HEART, BACH, BADER MOTOR, biosphere, BLACK LUNG, brume, Brume & De Fabriek, CEDRIC PIGOT, Clunes, Cyrus, DASHA RUSH, Déficit des Années Antérieures, Delia Derbyshire & Barry Berma, DER ZYKLUS, DOPPELR EFFEKT, Dziga Vertov, Iceberg B-09A, INSTITUT FRANCAIS DE SINGAPOUR, Jeff Mills, JIMMY T, John Carpenter, KOENIGJOHANNES, KUBRICK, Lou Reed, Luc MARIANNI, Luening, Mikhail Matiushin, Alexei Kruchenykh & Kazimir Malevich, Nicolas mETALL, Ø, pacific 231, Pan Sonic, People Like Us + Kenny G, Pharoah CHROMIUM , Rioji Ikeda, Scanner, SPK, SURGEON, Susumu Yokota, TEST DEPT, Throbbing Gristle, Ussachecvsky.
FIKE dia 4 venha conhecer o prof Jorge Campos, e deixe-o leva-lo numa viagem pelo cinema documental de França à antiga União Soviética de Jean Vigo a Dziga Vertov. Aperte o cinto e prepare-se para decolar.
ONE HEAT MINUTE is the podcast examining Michael Mann's 1995 crime opus HEAT minute by minute. It's the 74th minute (1:13:00-1:14:00) - host Blake Howard joins another Mann aficionado and author of the phenomenal analysis "Off the Map: Freedom, Control, and the Future in Michael Mann’s Public Enemies," Mr Niles Schwartz. Blake and Niles discuss connections to Kubrick with the awesome György Ligeti song "Concerto For Violoncello And Orchestra" underpinning this sequence (as discovered by Richard Combs in his Film Comment article "MICHAEL MANN: BECOMING" (Vol. 32, No. 2 MARCH – APRIL 1996). We also discuss concepts of performance intertextuality, Mann's other "guys" and finally, chuckle about the unfortunate demise of Dziga Vertov's Soviet School.Support this podcast at — https://redcircle.com/one-heat-minute-productions/donations
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