"Actor: Mikhail KAUFMAN"

• Man with a Movie Camera (and other works by Dziga Vertov) (1929) | Blu Ray | (17/07/2017) from £N/A   |  Saving you £N/A (N/A%)   |  RRP £N/A

  "An experiment in the creative communication of visible events without the aid of inter-titles, a scenario or theatre "aiming at creating a truly international absolute language of cinema," is how the inter-titles describe what is about to be seen. Bold claims indeed, but in its awesome sophistication The Man with a Movie Camera does live up to them, making it one of the most contemporary of silent movies. The subject, the life of a city from dawn to dusk, was not original even for 1928, but its treatment was--the cameraman as voyeur, social commentator and prankster, exploiting every trick permissible with the technology of the day (slow motion, dissolves, split screens, freeze frames, stop motion animation, etc). A young woman stirs in her bed, apparently fighting a nightmare in which a cameraman is about to be crushed by an oncoming train. She wakes up, and the sequence is revealed to be a simple trick shot. As she blinks her weary eyes, the shutters of her window mimic her viewpoint, and the iris of the camera spins open. Self-reflexive wit like this abounds here--there's even a delicious counterpoint made between the splicing of film and the painting of a woman's nails.The film was the brainchild of the Moscow-based film-maker Dziga Vertov (real name Denis Arkadyevich Kaufman), a furiously inventive poet of the cinema who made innumerable shorts about daily life (such as the much-quoted "Kino-Pravda"), and played at candid camerawork and cinema vérité long before they became the clichés of the television age. The editing has a fantastic abandon that makes most pop videos look sluggish. --David Thompson

• Man With A Movie Camera | DVD | (10/07/2000) from £N/A   |  Saving you £N/A (N/A%)   |  RRP £19.99

  An experiment in the creative communication of visible events without the aid of inter-titles, a scenario or theatre "aiming at creating a truly international absolute language of cinema," is how the inter-titles describe what is about to be seen. Bold claims indeed, but in its awesome sophistication The Man with a Movie Camera does live up to them, making it one of the most contemporary of silent movies. The subject, the life of a city from dawn to dusk, was not original even for 1928, but its treatment was--the cameraman as voyeur, social commentator and prankster, exploiting every trick permissible with the technology of the day (slow motion, dissolves, split screens, freeze frames, stop motion animation, etc). A young woman stirs in her bed, apparently fighting a nightmare in which a cameraman is about to be crushed by an oncoming train. She wakes up, and the sequence is revealed to be a simple trick shot. As she blinks her weary eyes, the shutters of her window mimic her viewpoint, and the iris of the camera spins open. Self-reflexive wit like this abounds here--there's even a delicious counterpoint made between the splicing of film and the painting of a woman's nails.The film was the brainchild of the Moscow-based film-maker Dziga Vertov (real name Denis Arkadyevich Kaufman), a furiously inventive poet of the cinema who made innumerable shorts about daily life (such as the much-quoted "Kino-Pravda"), and played at candid camerawork and cinema vérité long before they became the clichés of the television age. The editing has a fantastic abandon that makes most pop videos look sluggish. --David Thompson