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Encyclopedia > Man with the Movie Camera
Man with the Movie Camera
[[Image:|200px| ]]
Directed by Dziga Vertov
Produced by {{{producer}}}
Written by Dziga Vertov
Starring {{{starring}}}
Music by {{{music}}}
Cinematography Mikhail Kaufman
Editing by {{{editing}}}
Distributed by
Released January 8, 1929
First Screened {{{screened}}}
Running time 80 min
Language Silent
Budget
Preceded by {{{preceded_by}}}
Followed by {{{followed_by}}}
IMDb profile
Opening shot
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Opening shot
A street in the morning
Enlarge
A street in the morning
Mikhail Kaufman acts as a cameraman in search of the best shot
Mikhail Kaufman acts as a cameraman in search of the best shot

The Man with the Movie Camera, sometimes The Man with a Movie Camera, The Man with a Camera, or Living Russia (Chelovek s kino-apparatom, in Russian: Человек с киноаппаратом) is an experimental 1929 silent documentary film by Russian director Dziga Vertov. Dziga Vertov (Russian: , January 2, 1896–February 12, 1954) was a Russian documentary film and newsreel director. ... Dziga Vertov (Russian: , January 2, 1896–February 12, 1954) was a Russian documentary film and newsreel director. ... Mikhail Kaufman with his camera Mikhail Abramovich Kaufman (1897-1979; Russian: ) was a Russian cinematographer and photographer. ... January 8 is the 8th day of the year in the Gregorian calendar. ... 1929 (MCMXXIX) was a common year starting on Tuesday (link will take you to calendar). ... Image File history File links UNDEFINED-0. ... Image File history File links UNDEFINED-0. ... Image File history File links UNDEFINED-1. ... Image File history File links UNDEFINED-1. ... Image File history File links Mikhail_kaufman_on_train. ... Image File history File links Mikhail_kaufman_on_train. ... 1929 (MCMXXIX) was a common year starting on Tuesday (link will take you to calendar). ... A silent film is a film which has no accompanying soundtrack. ... Documentary film is a broad category of cinematic expression united by the intent to remain factual or non-fictional. ... Dziga Vertov (Russian: , January 2, 1896–February 12, 1954) was a Russian documentary film and newsreel director. ...


The film is a meta-reference: it follows a cameraman around various cities, intercutting his footage with footage of him filming and footage of a woman editing, and includes a number of cinematic techniques such as double exposure, fast motion, slow motion, freeze frames, jump cuts, split screens, Dutch angles, extreme closeups, tracking shots, footage played backwards, and a self-reflexive storyline (at one point it features a split screen tracking shot; the sides have opposite Dutch angles). Meta-reference, a meta-fiction technique, is a situation in a form of media whereby fictional characters display an awareness that they are in a film, television show or book. ... In film and photography, double exposure is a technique in which a piece of film is exposed twice, to two different images. ... Fast motion, also called accelerated motion, is an effect resulting from running film through a movie camera at slower-than-normal speed. ... Slow motion is an effect resulting from running film through a movie camera at faster-than-normal speed. ... Freeze Frame is the twelfth album by American rock band J. Geils Band, released in 1981 (see 1981 in music). ... In film editing, a jump cut is a cut between two similar scenes, so that the objects in them appear to jump from one position to another. ... In film, split screen is the combination of two actions filmed separately by copying them onto the same negative-- the usual way, for example, of having an actor talk to himself in a dual role. ... A Dutch angle is a cinematic tactic often used to portray the psychological uneasiness of the subject being filmed. ... In film, a close-up is a shot that is closely zoomed in on a person or object. ... In motion picture terminology, a tracking shot is the same as a dolly shot or a trucking shot--the camera is mounted on a wheeled platform that is pushed on rails while the picture is being taken. ...


Overview

The film has an unabashedly art film bent and emphasizes that film can go anywhere, for instance superimposing a shot of a cameraman setting up his camera atop a second, mountainous camera; or superimposing a cameraman inside a beer glass; or filming a woman getting out of bed and getting dressed; or even filming a different woman giving birth, the baby being taken away to be bathed. Art film is a film genre with a loose narrative, often experimental, presented as a serious artistic work. ...


Vertov's message about the prevalence and unobtrusiveness of filming was not yet true – cameras might have been able to go anywhere, but not without being noticed; they were too large to be hidden easily, and too noisy to remain hidden anyway. To get footage using a hidden camera, Vertov and his brother Mikhail Kaufman had to distract the subject with something else even louder than the camera filming them. Mikhail Kaufman with his camera Mikhail Abramovich Kaufman (1897-1979; Russian: ) was a Russian cinematographer and photographer. ...


The film also features a few obvious stagings such as the scene of the woman getting out of bed and getting dressed (cameras at the time were fairly bulky and loud, and not surreptitious) and the shot of the chess pieces being swept to the center of the board (a shot which was spliced in backwards, causing the pieces to expand outward and stand into position). The film was criticized for both the stagings and its stark experimentation, possibly as a result of its director's frequent assailing of fiction film as a new "opiate of the masses".


Soundtracks

The film, originally released in 1929, was silent, and accompanied in theaters with live music. It has since been released a number of times with different soundtracks:

  • In 1996, one release had a new soundtrack performed by the Alloy Orchestra, based on notes left by Vertov. It incorporated sound effects such as sirens, babies crying, crowd noise, etc.
  • In 2001, Norwegian composer Geir Jenssen (aka Biosphere) released an album of his interpretation of a soundtrack for the film, using the director's instructions for the original accompanying piano player.
  • In 2002, a version was released with a soundtrack performed by the British jazz and electronic outfit The Cinematic Orchestra (see Man with the Movie Camera (album)).
  • In 2002 again, a DVD edition by the British Film Institute had a score by Michael Nyman.

  Results from FactBites:
 
::::::::::::www.25hrs.org<<<<<<<< (4808 words)
I argue that the very title of the film, The Man with a Movie Camera, is misleading: the film itself demonstrates that cinema is not about capturing truth but creating a mediated reality that is not least made in the generative processes of editing and viewing.
While The Man with a Movie Camera accords the business of film making a special place in society, that integration is made smooth and invisible by the very process of gendering the film's two protagonists, the cinematographer and the editor, according to entirely conventional social patterns.
The kino-eye is the principle underlying all of The Man with a Movie Camera, both by reference to Vertov's various manifestos in which he used the term to differentiate his cinematographic methods from conventional techniques and visually, as an image that fuses the recording glance of the camera with the eye of the spectator.
  More results at FactBites »

 
 

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