Podcasts about vertov

In copertina: Dziga Vertov Tra fabbriche ghiacciate, proiettori rotti e manifesti d'avanguardia, nasce il cinema sovietico. Questa puntata racconta la stagione più esplosiva e visionaria della storia del cinema: quella in cui il montaggio divenne linguaggio, pensiero, ideologia. Con Ejzenštejn, Pudovkin e Vertov al timone, la settima arte si trasformò in arma rivoluzionaria. Dalla fondazione della Sovkino al trionfo de La corazzata Potemkin, fino al pugno di ferro del realismo socialista, esploriamo l'epoca in cui il cinema non voleva solo raccontare il mondo, ma cambiarlo. Learn more about your ad choices. Visit megaphone.fm/adchoices

While we gear up for Season 4 of "Top Doc", we're sharing some of our favorite episodes of the past few years.  Today, we re-present a pod from October of 2021.   Ken and Mike welcome Kirsten (KJ) Johnson, who recently won Best Director for her groundbreaking film, "Dick Johnson is Dead." This film is like no other film you'll find in your Netflix queue. KJ's boundary-pushing documentary uses the art of cinema to keep the ravages of time and the onset of dementia from taking her beloved father Dick away from her. The solution? Keep killing her father over-and-over again on camera, all with Dick's active participation and encouragement.  Once you survive the film, you'll definitely want to join Mike and Ken for this refreshingly candid conversation with KJ who constantly questions everything (including our questions!) and proves herself to be every bit as provocative, playful and engaging as the film itself. Covering everything from Seventh-day Adventism and the best way to stage your father's funeral while he's still alive to Vertov's Man with a Movie Camera and, of course, chocolate cake, this week's podcast is one you'll be dying to listen to. And look out for that falling air conditioner!  You can follow us on twitter @topdocspod Other films directed by Kirsten Johnson: Cameraperson Deadline   People who worked on the film: Judy Karp Michael Hilow Nels Bangerter Peter Horner Nadia Hallgren John Foster Simon Mendes Marilyn Ness   Hidden Gem:  Marjoe   Also mentioned in the pod: Ousmane Sembène  Djibril Diop Mambéty Wellington Bowler Young Frankenstein Monty Python's Flying Circus Charles Addams Lacan on social death  Derrida (the documentary) Quantum Entanglement The Rise and Fall of Mars Hill

In this second episode of season two, Scott is joined by Jill Walker Rettberg, co-director of the Center for Digital Narrative to talk about her book on Machine Vision and how algorithms are changing the way we see the world.  Sign up for ⁠⁠the CDN newsletter⁠⁠ here. References Rettberg, Jill Walker. 2024. Machine Vision: How Algorithms Are Changing the Way We See the World. Cambridge, UK: Polity Press.  Vertov, Dziga, director. 1929. Man with a Movie Camera. All-Ukrainian Photo Cinema Administration. 68 minutes. https://en.wikipedia.org/wiki/File:Man_With_A_Movie_Camera_(Dziga_Vertov,_1929).webm   Hayles, N. Katherine. 1999. How We Became Posthuman: Virtual Bodies in Cybernetics, Literature and Informatics. Chicago: University of Chicago Press.  Ring LLC. 2017. Neighbors by Ring. Android & iOS. Shusterman, Neal. 2018. Thunderhead. Simon & Schuster. Kronman, Linda. 2019. The deception of an infinite view – exploring machine vision in digital art. BCS Learning and Development Ltd. http://dx.doi.org/10.14236/ewic/POM19.11.

Két szabad, eleven alkotó, akik a robotizáció kommentálása közben eggyé váltak a legmodernebb gépekkel, a kamerával és a filmképpel. A szocialista Chaplin a fordista gyárak Amerikájában, a radikális avantgárd Vertov a szocialista realizmustól eltérő művészetet üldöző Szovjetunióban alkotott. Összeköti őket világképük, önreflexiójuk, a film önálló művészetként való meghatározásában betöltött szerepük. Nagyszabású jelleget, zeneiséget, önálló esztétika lehetőségét látták a gépek, a villamosítás hódításában, közben minden képükben tetten érhető az elidegenedéstől, a szubjektivitás elvesztésétől, az embertelen világtól való szorongás.„Nem a halott anyag szobrásza, hanem az eleven élet művészi kertésze” – mondja Balázs Béla Chaplinről. „Én vagyok a filmszem, egy gépszem vagyok, én egy gép úgy mutatom meg a világot, ahogyan csak én láthatom” – mondja Vertov magáról.Ezekről beszélget Babos Anna és Petri-Lukács Simon, a Partizán Filmklub két műsorvezetője, akiknek ezúttal Fekete Ádám dramaturg, színész volt a vendége, aki maga is játszotta Chaplint színpadon. Az adás apropója, hogy a Szabadidő Filmklub december 28-i vetítésén Chaplin és Vertov filmjeit vetítjük, hogy újabb szempontok szerint gondolkodjunk a totális megfigyeltségről, a kamera és a performativitás szabadidő feletti uralmáról.--------------------------------Támogasd te is a Partizán munkáját!https://csapat.partizanmedia.hu/fundraising/partizan/További támogatási lehetőségekről bővebben:https://www.partizanmedia.hu/tamogatasA Partizán Podcast oldalait itt találod:YouTube: https://www.youtube.com/@PartizanPodcastFacebook: https://www.facebook.com/profile.php?id=100087436092000A Partizán videóit itt tudod megnézni:https://www.youtube.com/c/Partiz%C3%A1nm%C3%A9dia

¡Bienvenidos al noveno episodio de Rosebud Sociedad Limitada! Después de una breve ausencia la semana pasada, regresamos con más cine, diversión y, por supuesto, brindis, tanto los de la vida como los del cine. En la introducción, nos maravillamos con la magia del tiempo en el cine, donde podemos repetir escenas y revivir momentos una y otra vez. ¡Ojalá pudiéramos hacer lo mismo en la vida real! Pero mientras tanto, nos consolamos con el poder del cine para transportarnos y emocionarnos. En "La Cartelera", comentamos tres películas que no te puedes perder: "Elemental", "El regreso de las golondrinas" y "Oppenheimer". Descubrirás nuestras impresiones sobre estas producciones. En "La película", nos adentramos en el clásico "El hombre con la cámara" de Vertov. Corregimos y ampliamos datos sobre esta joya del cine documental, que sigue siendo una referencia para cineastas y cinéfilos. En "Juegos", nos divertimos con una exploración en el cine B, el malo, y proponemos un emocionante juego a largo plazo. Prepárate para desafíos cinéfilos que pondrán a prueba tus conocimientos y te harán descubrir películas que tal vez no conocías. En "La femme fatale", Equis nos deleita con su análisis de "La venus de las pieles" de Polanski. Descubrimos los entresijos de esta intrigante película y cómo encaja en el género de cine noir. En "El Cultureta", traemos opciones cinematográficas con un animal de protagonista, como "El azar de Baltasar", "El hombre elefante" y "EO". Estas películas te conquistarán con sus emotivas historias y personajes inolvidables. Gracias por acompañarnos en este noveno episodio de Rosebud Sociedad Limitada. Esperamos que disfrutes de nuestro contenido y que continúes explorando el maravilloso mundo del cine con nosotros. ¡Hasta el próximo episodio! Puedes apoyar al proyecto por solo 5€ al mes en patreon.com/humanistasincomplejos Puedes suscribirte a los boletines personales en https://humanistasincomplejos.substack.com/ Compartiendo el amor por el cine, las personas y la cultura en https://humanistasincomplejos.com

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"

Rosa Vertov to dziewczyny, które grają proste, niepokojące, indierockowe piosenki z gorzką dreampopową melodią i w psychodelicznym klimacie. Z nową EP-ką "Reflected In" wychodzą jednak na słońce. Poznały się w gimnazjum i tam też zagrały swój pierwszy koncert. Na sali gimnastycznej, co - jak przyznają - było logicznym następstwem miejsca prób, które odbywały się w szkolnej siłowni. - Komponowałyśmy, siedząc na kozłach, materacach do fikołków albo bujając się na trapezie - wspominały w Czwórce artystki. 

04. CONNECT Max learns the real power of blue dust. ........ Blue Dust is a sci-fi audio-fiction series. We follow Max, a teenage boy, who has been stranded on a decaying Earth for over two years as he tries to return to his old home, a floating mega-city, to find his father. Upon his return, Max soon learns that his father is not only missing, but that he is central to the factional warfare that has gripped the city, with the old guards fighting against a new faction, lead by a girl with mysterious powers known as “The Red Queen.” In a city filled with lies and half-truths, where it's either play or be played, truth is power, and Max has to come to terms with his past and where he belongs in this strange new world. ........ Max was played by Samuel Edwards. Jed was played by David Todman. Sue was played by Davita Van Der Velde. Annie was played by Ashlee Conway. Tom was played by Ned Asome. Fi was played by Kelsie Adelaide. Frank was played by Nicholas Dunkley. Thragh was played by Danny Hesz. Vertov was played by Tyler Leitao. Trigs was played by Jamie Scott. Additional voices by Quynh Nguyen. Thank you to my brother, Christopher Dunkley, for the logo design. If you would like to get in touch, you can email me at: bluedustcontact@gmail.com. You can also connect to the Blue Dust Facebook page at: https://www.facebook.com/profile.php?id=100088111491056 Blue Dust was written, recorded and mixed by Nicholas Dunkley. Thank you for listening.

03. LOCKED Max slowly unlocks the mysteries of the past and his new home. ........ Blue Dust is a sci-fi audio-fiction series. We follow Max, a teenage boy, who has been stranded on a decaying Earth for over two years as he tries to return to his old home, a floating mega-city, to find his father. Upon his return, Max soon learns that his father is not only missing, but that he is central to the factional warfare that has gripped the city, with the old guards fighting against a new faction, lead by a girl with mysterious powers known as “The Red Queen.” In a city filled with lies and half-truths, where it's either play or be played, truth is power, and Max has to come to terms with his past and where he belongs in this strange new world. ........ Max was played by Samuel Edwards. Jed was played by David Todman. Sue was played by Davita Van Der Velde. Annie was played by Ashlee Conway. Tom was played by Ned Asome. Fi was played by Kelsie Adelaide. Frank was played by Nicholas Dunkley. Thragh was played by Danny Hesz. Vertov was played by Tyler Leitao. Trigs was played by Jamie Scott. Additional voices by Quynh Nguyen. Thank you to my brother, Christopher Dunkley, for the logo design. If you would like to get in touch, you can email me at: bluedustcontact@gmail.com. You can also connect to the Blue Dust Facebook page at: https://www.facebook.com/profile.php?id=100088111491056 Blue Dust was written, recorded and mixed by Nicholas Dunkley. Thank you for listening.

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/)

02. LOST Max is rudely awakened to the reality of his old home. ........ Blue Dust is a sci-fi audio-fiction series. We follow Max, a teenage boy, who has been stranded on a decaying Earth for over two years as he tries to return to his old home, a floating mega-city, to find his father. Upon his return, Max soon learns that his father is not only missing, but that he is central to the factional warfare that has gripped the city, with the old guards fighting against a new faction, lead by a girl with mysterious powers known as “The Red Queen.” In a city filled with lies and half-truths, where it's either play or be played, truth is power, and Max has to come to terms with his past and where he belongs in this strange new world. ........ Max was played by Samuel Edwards. Jed was played by David Todman. Sue was played by Davita Van Der Velde. Annie was played by Ashlee Conway. Tom was played by Ned Asome. Fi was played by Kelsie Adelaide. Frank was played by Nicholas Dunkley. Thragh was played by Danny Hesz. Vertov was played by Tyler Leitao. Trigs was played by Jamie Scott. Additional voices by Quynh Nguyen. Thank you to my brother, Christopher Dunkley, for the logo design. If you would like to get in touch, you can email me at: bluedustcontact@gmail.com. I'd love to hear from you. Blue Dust was written, recorded and mixed by Nicholas Dunkley. Thank you for listening.

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/)

BLUE DUST is a sci-fi audio-fiction series. We follow Max, a teenage boy, who has been stranded on a decaying Earth for over two years as he tries to return to his old home, a floating mega-city, to find his father. Upon his return, Max soon learns that his father is not only missing, but that he is central to the factional warfare that has gripped the city, with the old guards fighting against a new faction, lead by a girl with mysterious powers known as “The Red Queen.” In a city filled with lies and half-truths, where it's either play or be played, truth is power, and Max has to come to terms with his past and where he belongs in this strange new world. ........ Max was played by Samuel Edwards. Jed was played by David Todman. Sue was played by Davita Van Der Velde. Annie was played by Ashlee Conway. Tom was played by Ned Asome. Fi was played by Kelsie Adelaide. Frank was played by Nicholas Dunkley. Thragh was played by Danny Hesz. Vertov was played by Tyler Leitao. Trigs was played by Jamie Scott. Additional voices by Quynh Nguyen. Thank you to my brother, Christopher Dunkley, for the logo design. If you would like to get in touch, you can email me at: bluedustcontact@gmail.com. I'd love to hear from you. Blue Dust was written, recorded and mixed by Nicholas Dunkley. Thank you for listening.

01. RETURN In Max's desperation to return to the city, he makes a dangerous deal with his sister that ends in tragedy. ........ BLUE DUST is a sci-fi audio-fiction series. We follow Max, a teenage boy, who has been stranded on a decaying Earth for over two years as he tries to return to his old home, a floating mega-city, to find his father. Upon his return, Max soon learns that his father is not only missing, but that he is central to the factional warfare that has gripped the city, with the old guards fighting against a new faction, lead by a girl with mysterious powers known as “The Red Queen.” In a city filled with lies and half-truths, where it's either play or be played, truth is power, and Max has to come to terms with his past and where he belongs in this strange new world. ........ Max was played by Samuel Edwards. Jed was played by David Todman. Sue was played by Davita Van Der Velde. Annie was played by Ashlee Conway. Tom was played by Ned Asome. Fi was played by Kelsie Adelaide. Frank was played by Nicholas Dunkley. Thragh was played by Danny Hesz. Vertov was played by Tyler Leitao. Trigs was played by Jamie Scott. Additional voices by Quynh Nguyen. Thank you to my brother, Christopher Dunkley, for the logo design. If you would like to get in touch, you can email me at: bluedustcontact@gmail.com. I'd love to hear from you. Blue Dust was written, recorded and mixed by Nicholas Dunkley. Thank you for listening.

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.

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

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

Ken and Mike welcome Kirsten (KJ) Johnson, who recently won Best Director for her groundbreaking film, "Dick Johnson is Dead." This film is like no other film you'll find in your Netflix queue. KJ's boundary-pushing documentary uses the art of cinema to keep the ravages of time and the onset of dementia from taking her beloved father Dick away from her. The solution? Keep killing her father over-and-over again on camera, all with Dick's active participation and encouragement.  Once you survive the film, you'll definitely want to join Mike and Ken for this refreshingly candid conversation with KJ who constantly questions everything (including our questions!) and proves herself to be every bit as provocative, playful and engaging as the film itself. Covering everything from Seventh-day Adventism and the best way to stage your father's funeral while he's still alive to Vertov's Man with a Movie Camera and, of course, chocolate cake, this week's podcast is one you'll be dying to listen to. And look out for that falling air conditioner!  You can follow us on twitter @topdocspod Other films directed by Kirsten Johnson: Cameraperson Deadline   People who worked on the film: Judy Karp Michael Hilow Nels Bangerter Peter Horner Nadia Hallgren John Foster Simon Mendes Marilyn Ness   Hidden Gem:  Marjoe   Also mentioned in the pod: Ousmane Sembène  Djibril Diop Mambéty Wellington Bowler Young Frankenstein Monty Python's Flying Circus Charles Addams Lacan on social death  Derrida (the documentary) Quantum Entanglement The Rise and Fall of Mars Hill  

durée : 01:24:59 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - 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 ? - réalisation : Virginie Mourthé

Singing Jeremy Stewart to my dog in her last days, I reel at the thought of reels, I go dizzy with Vertov, I, Kino I, realize or strive to realize both Self (mine) and selflessness. I read from TREEPLANTERLAND's vital thesis, reveal one small scene from Absentia. I imagine a film called Colonizers, Then imagine that film a porn. No no no hyphens necessary when you're here alone here all alone. Alone, here in Absentia.

“Todo el mundo pensaba al verme en el escenario o en el cine que era desgraciado en mi vida personal. Nada más lejos de la verdad. Hasta donde recuerdo, siempre me consideré afortunado”. Buster Keaton El gag físico continuo busca las carcajadas del respetable, el hombrecillo impertérrito, el cara de palo se levanta después del batacazo. El pionero Buster Keaton se patea las calles detrás de una cámara de ferrotipos, ya en desuso en los locos años 20, camina al ritmo del tintineo de un piano, del latido de jazz sincopado por una secretaria dulce con la que se prenda nuestro escuálido amigo, y peleará por ella hasta el final. A partir de ahí todo serán obstáculos para su torpe cortejo: el policía cretino, el fornido pretendiente, y la multitud urbana que se apiña al subir al bus, demasiada gente estorbando y alejando al pamplinas de su princesa. El hombre de la cámara de Vertov en torpe , el cine sobre el propio artefacto, el individuo contra su entorno, el gimnasta adorado por Buñuel y Dalí renuncia a sentimentalismos baratos. La inexpresividad lo dice todo, acciones espontáneas y secuencias memorables. El mequetrefe pierde el bañador en la piscina, un salto ridículo desde el trampolín, el saludo a su sirena antes de robarle la prenda de baño a una oronda señora, el fotógrafo rompe los cristales con el trípode, y sus rasgos de payaso triste siempre reviven. Keaton escribió en sus memorias que entrar en la MGM, el mayor estudio de Hollywood, fue el mayor error de su vida, allí coartaron su libertad a la hora de trabajar. El cameraman fue dirigida por Edward Sedgwick y el propio Keaton. Aún conserva el frenesí de sus primeras obras, la imaginación desbordante del artista, si embargo el joven productor Irving Thalberg se propuso controlar su forma de rodar y manipuló todo lo que pudo, después llegaría el sonoro. Nada ya que ver con sus inicios en el cine, cuando comenzó haciendo cortos con Fatty Arbucke, el gordito cómico después caído en la ignominia y el escándalo, de él Keaton aprendería muchos gags y trucos, sin embargo era su inverso, el pamplinas no esbozaba ni un asomo de sonrisa, con eso conseguía que se le tomara en serio, el excéntrico e impasible luchador en busca de fortuna provocará la hilaridad del personal desde la seriedad. Raúl Gallego Esta noche filmamos la batalla de Chinatown con el mono dándole a la manivela... José Miguel Moreno, Zacarías Cotán, Gervi Navío y Raúl Gallego.

We discuss the recent sale of Catherine Deneuve’s Yves Saint Laurent clothes, and wonder about the values and meanings attached to vintage fashions. See links below ... Catherine Deneuve et Yves Saint-Laurent [sic], Christie's, Sale 17514, 24 January 2019, results: https://www.christies.com/catherine-deneuve-et-yves-28219.aspx Jess Cartner-Morley, 'Catherine Deneuve is selling her Yves Saint Laurent wardrobe - but that look will never go away', The Guardian (15 January 2019): https://www.theguardian.com/fashion/2019/jan/15/catherine-deneuve-is-selling-her-yves-saint-laurent-wardrobe-but-that-look-will-never-go-away AnOther, 'Catherine Deneuve Sells $1 Million Worth of Yves Saint Laurent Couture' (25 January 2019): https://www.anothermag.com/fashion-beauty/11444/catherine-deneuve-sells-1-million-worth-of-yves-saint-laurent-couture Rencontres Couture à Paris de la Collection Didier Ludo, Sotheby's, Sale PF1570, 8 July 2015, results: http://www.sothebys.com/en/auctions/2015/collection-didier-ludot-pf1570.html Didier Ludot, Paris: https://www.didierludot.fr/ Raphael Samuel, Theatres of Memory: Past and Present in Contemporary Culture (1994): https://www.versobooks.com/books/1098-theatres-of-memory Michael Clarke, 'Exhibition Review: Madeleine Vionnet: 15 Dresses from the Collection of Martin Kamer', Fashion Theory, Vol. 6, 2002, Issue 3: https://doi.org/10.2752/136270402790577631 Rosa Vertov, 'Tina Chow: The inventor of "minimal chic"', Vertov, 7 March 2018: https://shopvertov.com/blogs/vintage-inspiration/tina-chow-the-inventor-of-minimal-chic

Bate-papo com Coletivo AnarcoTecnológico Mariscotron Durante alguns dias recebemos as pessoas Coletivo Anarcotecnológico Mariscotron para conversas, paçocas, botar tinta no papel e trocas. Aconteceram dois encontros com pessoas da comunidade: o primeiro foi uma conversa sobre open-source, eletrônica, componentes, energia solar, microcontroladores PIC, robótica, domótica, entre outros assuntos com visitantes da casa Monstro dos Mares, estudantes do IFPR acompanhados de um técnico administrativo em educação e o Mariscotron (FOTO). O segundo encontro foi realizado na Estação União, a ferroviária que divide a cidade de União da Vitória (PR) e Porto União (SC) no dia 18 de Setembro. Na ocasião a conversa seria somente sobre a crítica anarquista à democracia, mas enquanto esperávamos as pessoas chegarem gravamos uma entrevista para projeto de pesquisa do Vertov sobre coletivos tech e a conversa se desdobrou para cultura hacker, tecnologia, tecnopolítica e democracia. Confira o podcast! Participantes: abobrinha, Absort0, Chúy, João Nilson e Vertov. --- Send in a voice message: https://anchor.fm/monstrodosmares/message

Dr Karen Pearlman is a renowned filmmaker, film writer and dancer. She specialises in editing, and is a lecturer of screen production at Macquarie University. Her short film AFTER THE FACTS is a hybrid documentary about Esther Shub, an uncredited female editor who is noted for greatly contributing to the foundation of montage editing. AFTER THE FACTS is about the unnamed, sidelined female editors who played a huge role in creating modern day editing. We talk to her about her film AFTER THE FACTS, Soviet Russia in the 1920s, how holding film can create new ideas, and of course M.I.A and Björk.

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.

"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.

The Real of Reality | International Conference on Philosophy and Film Wed, 02.11.2016 – Sun, 06.11.2016 ZKM_Media Theater, ZKM_Lecture Hall, ZKM_Media Lounge, ZKM_Cube My presentation is based on the proposition that every film, whether documentary or feature film, is based on the mutual relationship between the found and the invented, the material and the fiction, the real and the symbolic. In addition, as opposed to the closed form of the feature film, the open form of the documentary film can make the interplay between the real and the symbolic, the recorded material and the narrative, more visible. Hence, the documentary film is not a reproduction of reality, but a creative approach to the real, which is directly connected to the everlasting search for the answer to the question: what is the real? What, then, is the real? The real is not the objective fact of reality, but something that is always perceived by a distorted view. Thus, in the real, the distorted subjective view is always included. However, if one accepts that the documentary material is always framed by an interpretation and subjective perspective, this nevertheless means that the real is the construct of a perspectivism, because there is the actual existence and effect of the real. Nevertheless, this is always in a reciprocal relationship between the observer and the observed. What is the real in film? In film, at least three kinds of „the real“ can be ascertained. They are the historical real, the optical real, and the material real. My presentation deals with these three kinds of the real based on the film theories of Benjamin, Moholy-Nagy, and Vertov. International Conference on Philosophy and Film Photography and film in particular paved the way for complex philosophical questions regarding the nature of reality and its mechanical reproduction. What does film reproduce and how can we grasp this element, which has the transactive ability to form reality although originating in reality? This shaping takes palce through a complex interaction of image, action and narration and tends to permeate reality completely. It is an inconspicuous process that already affects our everyday life profoundly and is based on a revolution of the real. What does film show? Do we have access to reality that is not based on images or narrations? And what can film and its analysis contribute to philosophical debates on the real? These are questions we are asking to engage in a dialogue between philosophy and film. For five days, one hundred and fifty philosophers, media scholars and filmmakers will connect philosophical theory with cinematic practice and open up new ideas and concepts. To accompany the program, there will be film screenings of documentaries of the invited filmmakers. The participation at the conference is also possible without the presentation of a paper. The conference will be held in English.

Revista Campus Cultural / Núm. 76 Octubre 5 2016. En portada: El mundo del talentoso Jim Henson Artículos: Aniversario del Tec, Don Alfonso Reyes, El incierto camino del Brexit, El cine de ojo de Vertov, Clinton vs. Trump, Gabriel Zaid, Tec Dance.

Podcast no. 36 comes from the well-established LA duo Ed Vertov & Lena Deen of Stellar Remnant. This heavyweight mix demonstrates the sharp and subversive brand of techno that comprises their record label and sublime record store, and should make clear why you'll see their names attached to some of LA's highest-profile techno endeavors of late. - More from Ed & Lena: @stellaremnant www.stellaremnant.com

Lawrence Krauss - A Godless Universe  FREE FULL EPISODE: http://londonrealacademy.com/episodes Lawrence Maxwell Krauss is an American theoretical physicist and cosmologist who is Foundation Professor of the School of Earth and Space Exploration at Arizona State University, and director of its Origins Project. Prof. Lawrence M. Krauss is an internationally known theoretical physicist with wide research interests, including the interface between elementary particle physics and cosmology, where his studies include the early universe, the nature of dark matter, general relativity and neutrino astrophysics. He has investigated questions ranging from the nature of exploding stars to issues of the origin of all mass in the universe. He was born in New York City and moved shortly thereafter to Toronto, Canada, where he grew up. He received undergraduate degrees in both Mathematics and Physics at Carleton University. He received his Ph.D. in Physics from the Massachusetts Institute of Technology (1982), then joined the Harvard Society of Fellows (1982-85). He joined the faculty of the departments of Physics and Astronomy at Yale University as assistant professor in 1985, and associate professor in 1988. In 1993 he was named the Ambrose Swasey Professor of Physics, Professor of Astronomy, and Chairman of the department of Physics at Case Western Reserve University. He served in the latter position for 12 years, until 2005. During this period he built up the department, which was ranked among the top 20 Physics Graduate Research Programs in the country in a 2005 national ranking.  He has been involved for some time in issues of science and society and has helped spearhead national efforts to educate the public about science, ensure sound public policy , and defend science against attacks at a variety of levels. He has helped lead a national effort to defend the teaching of evolution in the public schools. His piece in the New York Times followed by a public letter to Pope Benedict helped to prompt a reevaluation of the Catholic Church's position on evolution. He led the creation of an organization in Ohio which recruited and supported pro-science candidates to run for State School Board against creationist candidates, and spoke out and wrote extensively during the election campaign. All candidates recruited by this group, Help Ohio Public Education, were elected, sometimes defeated candidates who outspent them by huge margins. In Dec 2007, he wrote in the Wall St. Journal proposing a Presidential Debate on Science, and serves on the steering committee of ScienceDebate2008. Their call for such a debate has now been cosponsored by the American Assoc. for the Advancement of Science and the Council on Competitiveness, as well as being endorsed by 20 Nobel Laureates, various Congresspeople, business leaders, and 12,000 scientists. In March 2008, Krauss and Richard Dawkins engaged in a public conversation at Stanford University on science and science education, and the video of their conversation and his video on the current state of cosmology presented at the AAI conference in October 2009 and produced by the Dawkins Foundation have become among most watched on Youtube since it appeared in April. In 2012, he was awarded the National Science Board's Public Service Medal. Krauss is one of the few prominent scientists today to have actively crossed the chasm between science and popular culture. For example, besides his radio and television work, Krauss has performed with the Cleveland Orchestra, narrating Gustav Holst's The Planets at the Blossom Music Center in the most highly attended concert at that venue, and was nominated for a Grammy award for his liner notes for a Telarc CD of music from Star Trek. In 2005 he also served as a jury member at the Sundance Film Festival. In 2013, Krauss starred in a new full length feature film documentary called The Unbelievers, which follows Krauss and colleague Richard Dawkins around the world as they discuss science and reason.  The film had its world premiere at the Hot Docs International Film Festival in Toronto in April 2013. A number of celebrities including Woody Allen, Werner Herzog, Cameron Diaz, Ricky Gervais, Ian McEwan, Cormac McCarthy, Sarah Silverman and others appear in the film, for which Krauss was the executive producer. Lawrence Krauss' website: http://krauss.faculty.asu.edu/ Lawrence Krauss on Twitter: http://twitter.com/lkrauss1 BUILD THE BEST YOU: http://londonrealacademy.com TURN YOUR PASSION INTO A BUSINESS:  http://londonrealacademy.com/the-business-accelerator SUBSCRIBE ON YOUTUBE:  http://bit.ly/SubscribeToLondonReal Music by 2pas0s - Vertov https://www.facebook.com/2Pas0s https://soundcloud.com/2pas0s

Lawrence Maxwell Krauss is an American theoretical physicist and cosmologist who is Foundation Professor of the School of Earth and Space Exploration at Arizona State University, and director of its Origins Project.  FREE FULL EPISODE: http://londonrealacademy.com/episodes  TURN YOUR PASSION INTO A BUSINESS: http://londonrealacademy.com/the-business-accelerator Music by 2pas0s - Vertov  https://www.facebook.com/2Pas0s  https://soundcloud.com/2pas0s

Volume 10 comes to you from Ed Vertov. Owner of Pro-tez, Acid Pop, and his most recent venture Stellar Remnant, which will be both record label and store. All the records played on this mix are available to sale from Stellar Remnant. For more info or to purchase records, please reach Ed at info@stellaremnant.com Levon Vincent - Launch Ramp to the Sky Oskar Offermann & Moomin - Joe Macdaddy Mujuice - Miss You Much (Lawrence Mix) Panthera Krause - Rules SYS - Minoga Daze - Death Whirl Vernon Felicity - Flatlife Welfare001 Trap10 - Radisc Details II Valentin Stip - Groom Lake Ozel AB - Digital Natives Stefan Gubatz - Nanchfahrt SKV18 - Nautil3/3 Entro Senestre - TriState Cate - Heavy Breathing (The Lost Tape) Last Waltz - Tusk Wax Eleven

En cette quatrième Sélection extérieure, on reçoit l'artiste Roza Vertov, donc les compositions synthétiques et politiques, traversées de voix mutantes, serviront de matière à une discussion et une playlist prenant pour thème les femmes dans les musiques électroniques. Au programme, un détour par les pionnières de la MAO, par les figures contemporaines incontournables et par d'autres artistes plus confidentielles officiant dans des scènes allant de l'ambient à la musique industrielle.  L'idée étant de se rappeler que 90% des musiques électroniques auxquelles on a accès et que l'on diffuse sont composées par des hommes et que cela mérite qu'on se demande pourquoi. photo : Laurie Spiegel Tracklist : Colleen - Captain Of None Strië - Untitled 1956 Roza Vertov - D. T. M. S. Roza Vertov - Machine Laurie Spiegel - Clockworks Laurie Anderson - Speak My Language Maggie Payne - Ahh-Ahh (Ver 2.1) Björk - All Is Full Of Love Leila - Mollie Broadcast et The Focus Group - To Be Colony Fever Ray - Keep The Streets Empty For Me Julia Holter - Try To Make Yourself A Work Of Art Insect Ark - The Collector Pour aller plus loin : L'étude FACT de female:pressure L'interview de Björk par Jessica Hopper : "The Invisible Woman. A Conversation With Björk" L'article de Madeleine Bloom qui renvoie à la thèse de Jennifer M. Brown : " Why Not More Women Make Electronic Music and How This Could Change" Un article de Jessica Hopper sur la place des femmes dans la scène émo et dans la musique en général : "Emo : Where Girls Aren't" Et une rétrospective par UbuWeb de 40 ans de musiques électroniques composées par des femmes.

En cette quatrième Sélection extérieure, on reçoit l'artiste Roza Vertov, donc les compositions synthétiques et politiques, traversées de voix mutantes, serviront de matière à une discussion et une playlist prenant pour thème les femmes dans les musiques électroniques. Au programme, un détour par les pionnières de la MAO, par les figures contemporaines incontournables et par d'autres artistes plus confidentielles officiant dans des scènes allant de l'ambient à la musique industrielle.  L'idée étant de se rappeler que 90% des musiques électroniques auxquelles on a accès et que l'on diffuse sont composées par des hommes et que cela mérite qu'on se demande pourquoi. photo : Laurie Spiegel Tracklist : Colleen - Captain Of None Strië - Untitled 1956 Roza Vertov - D. T. M. S. Roza Vertov - Machine Laurie Spiegel - Clockworks Laurie Anderson - Speak My Language Maggie Payne - Ahh-Ahh (Ver 2.1) Björk - All Is Full Of Love Leila - Mollie Broadcast et The Focus Group - To Be Colony Fever Ray - Keep The Streets Empty For Me Julia Holter - Try To Make Yourself A Work Of Art Insect Ark - The Collector Pour aller plus loin : L'étude FACT de female:pressure L'interview de Björk par Jessica Hopper : "The Invisible Woman. A Conversation With Björk" L'article de Madeleine Bloom qui renvoie à la thèse de Jennifer M. Brown : " Why Not More Women Make Electronic Music and How This Could Change" Un article de Jessica Hopper sur la place des femmes dans la scène émo et dans la musique en général : "Emo : Where Girls Aren't" Et une rétrospective par UbuWeb de 40 ans de musiques électroniques composées par des femmes.

En cette quatrième Sélection extérieure, on reçoit l'artiste Roza Vertov, dont les compositions synthétiques et politiques, traversées de voix mutantes, serviront de matière à une discussion et une playlist prenant pour thème les femmes dans les musiques électroniques. Au programme, un détour par les pionnières de la MAO, par les figures contemporaines incontournables et par d'autres artistes plus confidentielles officiant dans des scènes allant de l'ambient à la musique industrielle.  L'idée étant de se rappeler que 90 % des musiques électroniques auxquelles on a accès et que l'on diffuse sont composées par des hommes et que cela mérite qu'on se demande pourquoi. Tracklist : Colleen - Captain of None (Captain of None, 2015) Strië - Untitled 1956 (Struktura, 2015) Roza Vertov - D.T.M.S. (D.T.M.S., 2014) Roza Vertov - Machine (2014) Laurie Spiegel - Clockworks (The Expanding Universe, 2012) Laurie Anderson - Speak My Language (Bright Red, 1994) Maggi Payne - Ahh-Ahh (Ver 2.1) (Crystal, 1991) Björk - All Is Full of Love (All Is Full of Love, 1999) Leila - Mollie (Blood Looms and Blooms, 2008) Broadcast and The Focus Group - The Be Colony (Investigate Witch Cults of the Radio, 2009) Fever Ray - Keep the Streets Empty for Me (Fever Ray, 2009) Julia Holter - Try to Make Yourself a Work of Art (Tragedy, 2011) Insect Ark - The Collector (Portal / Well, 2015) Photo : Laurie Spiegel in her apartment (1971) Pour aller plus loin : L'étude FACT de female:pressure, l'interview de Björk par Jessica Hopper : "The Invisible Woman. A Conversation With Björk", l'article de Madeleine Bloom qui renvoie à la thèse de Jennifer M. Brown : "Why Not More Women Make Electronic Music and How This Could Change", un article de Jessica Hopper sur la place des femmes dans la scène emo et dans la musique en général : "Emo : Where Girls Aren't", et une rétrospective par UbuWeb de 40 ans de musiques électroniques composées par des femmes

It's finally here! The premiere episode of Decades of Cinema! Below are various ways of listening to the show and links followed by a rundown of this episode's film list! Enjoy!Embedded version!Or, download the show directly!Available in .M4A or .MP3 format. Or check out DoC in the iTunes Store.E-mail us directly with any questions or comments and also to submit your own movie lists for consideration for our show-ending segment Rapid Fire Reviews! Our official e-mail address is: decadesofcinema@yahoo.comIf you are a Letterboxd user here's a DoC Episode #1 list there if you want to follow along at home and use it track which films from this episode you've seen!Without further adieu -- here's this episode's films!1890sComic Costume Race (Paul, 1896)1900sThe Dancing Pig (1907)1910sBroken Blossoms or The Yellow Man and the Girl (Griffith, 1919)1920sMan with a Movie Camera (Vertov, 1929)1930sAlexander Nevsky (Eisenstein, Vasilev, 1938) 1940sThe Magnificent Ambersons (Welles, 1942)1950sHiroshima Mon Amour (Resnais, 1959)1960sSpartacus (Kubrick, 1960)1970sMark of the Devil (Armstrong, Hoven, 1970)1980sFitzcarraldo (Herzog, 1982)1990sThe Long Day Closes (Davies, 1992)2000sCastaway on the Moon (Lee, 2009)2010sJohn Carter (Stanton, 2012)Rapid Fire ReviewsMr. Jones (Mueller, 2013), Computer Chess (Bujalski, 2013), The Internship (Levy, 2013), The Signal (Eubank, 2014), The Angriest Man in Brooklyn (Robinson, 2014), and My Dinner with Andre (Malle, 1981)Remember to e-mail us at decadesofcinema@yahoo.com to send in your comment, questions, and requests for the Rapid Fire Reviews segment! Thanks for the support and we'll see you at the movies!

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.

Un peu de SF avec Frédéric Delmeulle, l'auteur des fort bons Parallèle Vertov et Manuscrits de Kinnereth, chez Mnemos. (Musique : Introduction premier thème, XCyril, site Dogmazic.net).

©D.R Auteur de La parallèle Vertov, Frederic Delmeulle nous parle de savant fou, de mustang,de lignes de basse…https://archive.org/download/frederic-delmeulle/Frederic-Delmeulle.mp3Le premier livre de Frederic, La parallèle Vertov est paru aux éditions MnemosLa chronique de La parallèle Vertov

 Auteur de La parallèle Vertov, Frederic Delmeulle nous parle de savant fou, de mustang, de lignes de basse… Le premier livre de Frederic, La parallèle Vertov est paru aux éditions Mnemos La chronique de La parallèle Vertov