This documentary promoting the joys of life in a Soviet village centers around the activities of the Young Pioneers. These children are constantly busy, pasting propaganda posters on walls, distributing hand bills, exhorting all to “buy from the cooperative” as opposed to the Public Sector, promoting temperance, and helping poor widows. Experimental portions of the film, projected in reverse, feature the un-slaughtering of a bull and the un-baking of bread. —IMDb
The theories and experimental films of Dziga Vertov revolutionized documentary cinema and continue to influence filmmakers ranging from Godard to Stan Brakhage to Chris Marker. He was born Denis Arkadievitch Kaufman in Bialystok, Poland (which at the time was part of Czarist Russia), the son of a librarian. His brothers, Mikhail Kaufman and Boris Kaufman, both became noted cinematographers. Vertov began writing poetry at age ten and at 16 was attending the Bialystok Music Conservatory where he studied violin and piano. A resident of Russia since 1915, Vertov studied neurology in St. Petersburg in 1917. While there, he began researching human perception with sound and created a Laboratory of Hearing in which he made montages of natural sounds and then tried to re-create them by grouping them in phonetic units. He took his pseudonym (loosely translated as “spinning top” or literally “top turning”) at this time.
Following the Bolshevik Revolution in 1917, Vertov was invited to become… read more
Dziga Vertov era un genio. Para ser un cine documental incipiente, Vertov era un adelantado, un curioso por experimentar con el movimiento real y el manipulado, el proceso de la cotidianidad, alterando la perspectiva, rompiendo el tiempo, proponiendo un lenguaje que no está limitado a lo documental. Era entonces su primer documental, propagandístico, pero ya parecía maduro. Una escena: niños clavadistas en un río.
Experiment to graphically chart a montage episode [Opyt graficeskoj zapisi smontirovannogo epizoda] (reproduced in the book
Some of the first movie posters that I ever took seriously, or seriously loved, were Soviet posters of the 1920s. Instantly arresting, intensely