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The Films of Dziga Vertov, Ranked

by Eliecer Gaspar
The Films of Dziga Vertov, Ranked by Eliecer Gaspar
“And one day in the spring of 1918… returning from a station. There lingered in my ears the sighs and rumble of the departing train… someone’s swearing… a kiss… someone’s exclamation… laughter, a whistle, voices, the ringing of the station bell, the puffing of the locomotive… whispers, cries, farewells… And thoughts while walking: I must get a piece of equipment that won’t describe, but will record, photograph these sounds. Otherwise it’s impossible to organize, edit them. They rush past, like time. But the movie camera perhaps? Record the visible… Organize not the audible, but the visible world. Perhaps that’s the way out?” – Dziga… Read more

“And one day in the spring of 1918… returning from a station. There lingered in my ears the sighs and rumble of the departing train… someone’s swearing… a kiss… someone’s exclamation… laughter, a whistle, voices, the ringing of the station bell, the puffing of the locomotive… whispers, cries, farewells… And thoughts while walking: I must get a piece of equipment that won’t describe, but will record, photograph these sounds. Otherwise it’s impossible to organize, edit them. They rush past, like time. But the movie camera perhaps? Record the visible… Organize not the audible, but the visible world. Perhaps that’s the way out?” – Dziga Vertov

“In the history of cinema there is Vertov and everybody else. What was the difference? Vertov anticipated, both theoretically and practically, by some fifty years a reality we live now, a reality we call media." – Jean-Pierre Gorin

“Perhaps I am most like Dziga Vertov because he also lived through a revolutionary moment in his country. What occurred in Vertov’s country motivated him to realize his own montage, just like what occurs in Cuba motivates mine.” – Santiago Alvarez

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