#vertov

[quatrenuitsdunreveur]

Ентузіязм (Симфонія Донбасу) / Enthousiasme (dir. Dziga Vertov, 1930)

[jughead-is-canonically-aroace]

omg thank u for introducing me to the term kuleshov effect, that is my favorite aspect of fan edits it makes me go insane

it's so fucking cool, i was actually gonna make a video essay for a final project (before i realized that i don't know how to use a video editor + other problems befouled me) comparing two movies illustrating the connections and the contrasts i was making using the kuleshov effect, which would have pretty much just straightup been an amv using songs from one of the movies.

it's part of why a good gifset is one of my favorite kinds of fandom meta - clips from x episode paired with clips from y later episode, etc - like !!!!! you're making a connection and holding it up for me to look at directly so i can then make that connection myself purely through the juxtaposition!!!!!!!! that's so cool!!!!!!!!

like, look at this

🌸pro-horse🌸

➤ Vanya & Five + parallels [ID: An 18-piece-gifset of Vanya and Five Hargreeves from the TV-adaptation of the Umbrella Academy. The gifset

you see what i'm saying??? the meaning comes from the interraction of the paired gifs/lines

or this one

🌸pro-horse🌸

Number Five + smiling as a threat vs. smiling genuinely

which does like, angle or lighting comparison in addition to the contrast in emotion - shot comparison! match shots! et cetera!

like, the meaning here isn't coming from the caption, i don't see that until later, it's coming from seeing these visuals & dialogue juxtaposed and interpreting something from the decision to pair them. that's video essay

but like to get back to videos and amvs and the kuleshov effect and soviet montage in general - look at this supernatural amv. i've never seen supernatural but this is one of my favorite songs by the mountain goats, and there are lines in it that were put in a completely new perspective for me by watching this amv and seeing what shots the editor put under which lines

🌸pro-horse🌸

supernatural 4x01 lazarus rising / psalms 40:2 by the mountain goats

soviet montage is a style that developed pretty much in direct response to western/hollywood continuity editing, and specifically in response to the film birth of a nation, which was interesting to the soviet filmmakers in the way that they saw the style of filmmaking aided the film in selling the story of the KKK to the american audience

continuity editing stylistically wants to be noticed as little as possible, and guide you along the viewing of the movie, blurring the lines between your reality and the reality of the film (the idea of the suspension of disbelief) through things that mimic the real life experience of moving throug the world - shot-to-shot things like showing the exterior of the building and then the interior, keeping the camera within the same 180 degrees in a single scene so the people you're filming aren't suddenly on different sides of the camera (the viewer); and scene-to-scene things like having events occur chronologically (and if not, having a clear indication of flashback or flash forward as per filmmaking convention)

the soviet filmmakers saw this as like, some capitalist propaganda bullshit because it encouraged you to take in these ideas without necessarily thinking or critically examining them, and so it was very easy to make the KKK the heroes by just building a triumphant narrative around them, and how that narrative is shown to the viewer depends on how it's edited

and so montage editing, which is rising out of the same school of filmmaking as the kuleshov effect, is in direct response to that, to try and find a style of editing that makes the viewer pay attention to the techniques and to the fact that they're watching a film, keeps their brain engaged, and has them draw their own conclusions from what they're shown rather than being gently handed the conclusions by the film. so it's a style that is built on inviting thought and critique, and therefore a pretty natural style for expressing audiovisual critique and analysis

(amvs also have their roots in this style bc soviet filmmakers were often working with recutting american films rather than filming their own due to lack of funds for purchasing film. which is pretty cool)

if you wanna check out a cool classic example of soviet montage editing, vertov's man with a movie camera (1hr) is really fun, kind of a "day in the life" but also a display of different effects you can get by using a film camera in different ways, bit of stop motion, etc

(vertov is also a really interesting, he coined the idea of kino-eye, which is about the way that the camera looks at the world and how that's different from how a human eye looks at the world, and also, the way the world reacts or changes in response to being looked at by the camera. which is Pretty Relevant Right Now I'd Say! glares at tiktok. glares at surveilence state. anyway you might wanna check that out too it's a bit tangental to the topic but still relevant in terms of the idea of film as unique medium which can be used to express ideas differently than the written word)

[quatrenuitsdunreveur]

Три песни о Ленине / Trois chants sur Lénine (dir. Dziga Vertov, 1934)

[quatrenuitsdunreveur]

Три песни о Ленине / Trois chants sur Lénine (dir. Dziga Vertov, 1934)

[365filmsbyauroranocte]

Enthusiasm: Symphony of the Donbass (Dziga Vertov, 1930)

[365filmsbyauroranocte]

Enthusiasm: Symphony of the Donbass (Dziga Vertov, 1930)

[yngwrthr]

Filmed in 1931, this experimental film about Ukraine’s industrial might captures the revolutionary upheaval of its era with bold cuts and up

Article on Vertov’s 1931 work “Enthusiasm” for your amazement and amusement. Again though, The Guardian’s long-standing, recurring comparison of Soviet Russia to today’s political context is nonsensical and oversimplified. Let us assume their writers should know better by now.

[film-industry-novice]

Comparison “Berlin: Symphony of a Metropolis” and “Man with a Movie Camera”

“Berlin: Symphony of a Metropolis” by Walter Ruttmann had its debut in 1927. The film is a predecessor of the postmodern digital moving image. It is a documentary about an experience, which conveys a feeling of movement. The film is focussed on the rhythm of the city Berlin, but it is criticised that it only explores the surface of its possible content.

In “Man with a Movie Camera” by Dsiga Vertov, 1929, people on the streets directly interacted with the camera. The content stretches from the beginning of the day to its end, while also focusing on social differences. As Samodurova puts it, “…a kaleidoscopal glimpse of the daily life of its inhabitants.” Another topic the film addresses is filmmaking itself, by it starting out in a cinema, and showing the process of filming, for example someone carrying the camera to different locations.   “Man with a Movie Camera” is more dynamic and it has no intertitles, which was uncommon for the time.

“Man with a Movie Camera” has been labelled as a plagiarism of “Berlin: Symphony of a Metropolis”, because the two films have a few things in common. Both films have a city as the protagonist, there are no people picked out or introduced. They are both part of the “New Objectivity Movement”. While also showing stylistic similarities such as quick cuts.