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For 60 years, the Soviet filmmaker Dziga Vertov, creator of the famed Man with a Movie Camera (1929), has been recognized as a founding figure of documentary, avant-garde, and political-propaganda film. This book addresses Vertov's formative years in prerevolutionary and Soviet Russia, alongside his interests in music, poetry and technology.
Inhaltsverzeichnis
Note on Abbreviations, Transliteration, and TranslationsIntroduction. How Did It Begin?
Chapter 1. Province of Universality: David Kaufman before the War (1896�14)
Chapter 2. Social Immortality: David Kaufman at the Psychoneurological Institute (1914�)
Chapter 3. The Beating Pulse of Living Life: Musical, Futurist, Nonfiction, and Marxist Matrices (1916�)
Chapter 4. Christ among the Herdsmen: From Refugee to Propagandist (1918�)
Acknowledgments
Film Archives Consulted
Filmography
Bibliography
Index
Über den Autor / die Autorin
John MacKay is Professor of Film and Media Studies and Professor and Chair of Slavic Languages and Literatures at Yale University. He received a PhD in Comparative Literature from Yale in 1998 and a BA in English from the University of British Columbia in 1987.
Zusammenfassung
The most extensive study of the life and corpus of any Russian or Soviet filmmaker, this book reinserts Dziga Vertov's films into the complex epoch in which he worked, the theoretical debates in which he participated, and the reception his writings and films have generated.
Zusatztext
“The sheer hard work that has gone into researching and writing this exceptional volume is evident, but so too is MacKay’s enjoyment of this task. His enthusiasm for his subject is both palpable and infectious, as is his curiosity. There is something for every reader in this treasure trove of a book, and we should be grateful that its publisher allowed MacKay the space to include everything that he wanted to include. It has enabled him to write a definitive account of the origins of the extraordinary filmmaker Dziga Vertov, which also makes a major contribution to our understanding of Russian and Soviet cinema, history and culture more broadly.”
—Rachel Morley, UCL SSEES, Slavonic and East European Review
