The man with a movie camera [video] [WorldCat Entities]

"Chelovek s kinoapparatom (Motion picture)"
"Chelovek c kino-apparatom"@en
"Cinematic Orchestra: Man with a movie camera"@en
"Living Russia"
"Dziga Vertov's man with a movie camera"@en
"Chelovek's kinoapparatom"
"Chelovek's kinoapparatom"@en
"Chelovek s kinoapparatom"@en
"Chelovek s kinoapparatom"
"homme à la caméra"
"Dziga Vertov"@en
"Man with the movie camera"@en
"Man with the movie camera"
"El hombre de la cámara"
"Čelovek s kino-apparatom"
"Der Mann mit der Kamera"
"Chelovek s kino-apparatom"@en
"Chelovek s kino-apparatom"
"Cheloveks kinoapparatom"
"L' homme à la caméra"
"Michael Nyman's man with a movie camera"
"Dziga Vertov's Man with a movie camera"
"Man with a movie camera"@en
"Man with a movie camera"

author

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contributor

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creator

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http://worldcat.org/entity/person/id/2635285732

description

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"Man with a movie camera is an experimental film which uses numerous cinematic techniques (split screens, multiple superimpositions, variable speeds, et cetera) to present a dawn to dusk view of Moscow and to study the relation between cinema and reality. Three songs about Lenin is a propaganda film celebrating Lenin, accompanied by the original Soviet soundtrack."@en
"This is the major work of a Russian film producer, the chief exponent of the "Kino-eye" theory of factual, non-narrative film making. Vertov realized that the camera was endowed with more potential than the human eye. Describes the wonders of the camera."@en
"An experimental film which uses numerous cinematic techniques (split screens, multiple superimpositions, variable speeds, et cetera) to present a dawn to dusk view of Moscow and to study the relation between cinema and reality."@en
"An experimental film which uses numerous cinematic techniques (split screens, multiple superimpositions, variable speeds, et cetera) to present a dawn to dusk view of Moscow and to study the relation between cinema and reality."
"This is the major work of a Russian film producer, the chief exponent of the "Kino-eye" theory of factual, non-narrative film making. Vertov realized that the camera was endowed with more potential than the human eye. Describes the wonders of the camera."
"An experimental film which uses numerous cinematic techniques (split screens, multiple superimpositions, variable speeds, etc. 17."
"A "camera eye" documentary without any plot, that observes Russian life in a succession of street and interior scenes."
"A cameraman travels around a city with a camera slung over his shoulder, documenting urban life with dazzling inventiveness."@en
"A "camera eye" documentary without any plot, showing, through a succession of street and interior scenes, all the tricks of which the instrument is capable ; it takes a bow at the end."@en
"A dawn-to-dusk view of the Soviet Union offering a montage of urban Russian life, showing the people at work and at play, and the machines that keep the cities running. New score performed in May 2002 at London's Royal Festival Hall."
"On this special video edition the film runs twice. First you will see the original silent version, with an innovative musical score composed and performed by the Alloy Orchestra. The film is then repeated, but with a commentary by Yuri Tsivian, the leading historian of Russian silent cinema. Tsivian's brilliantly informed and intuitive narrative reveals the metaphors of the film - metaphors of awakening, of vision, of weaving and sewing, of the relativising of time and space - and thus shows the means by which Vertov attempts to conjure into existence a utopian society and a utopian cinema."
"Film expérimental. Classique du cinéma direct (théorie du Kinoglaz) de l'école russe, sous la forme d'un répertoire des techniques cinématographiques. Vertov compose un film sur le phénomène de la perception visuelle. L'homme est derrière la caméra et dans la caméra, l'oeil dans et derrière la caméra, le spectateur acteur et l'acteur spectateur, leur film et notre film."
"An experimental documentary film which uses numerous cinematic techniques (split screens, multiple superimpositions, variable speeds, et cetera) to present a dawn to dusk view of Moscow and to study the relation between cinema and reality."
"An experimental documentary film using numerous cinematic techniques (split screens, multiple superimpositions, variable speeds) to present a dawn to dusk view of life in Moscow a little more than a decade after the Russian revolution. A visual poem celebrating the energy and dynamism of the Soviet Union, utilizing all the visual techniques available to cinema at the time. Vertov used his brother the cameraman Mikhail Kaufman as the central character of this film (Man with the movie camera) placing him in the most unusual settings. In the last section of the film through the use of stop action techniques, Vertov brings the camera itself to life, the camera dances away from its owner ending the film."
"Cinema classic dealing with cinematographic techniques. Vertov shows through his film the many phases of cinematographic perception: the man behind the camera and with the camera; the spectator as actor and the actor as spectator."@en
"A dawn-to-dusk view of the Soviet Union, this documentary follows the activities of a news cameraman as he peers into the lives of his countrymen."
"Dziga Vertov's Man with a movie camera is considered one of the most innovative and influential films of the silent era. This dawn-to-dusk view of the Soviet Union offers a montage of urban Russian life, showing the people of the city at work and at play, and the machines that endlessly whirl to keep the metropolis alive. As an early experimental film, use is made of trick photography, slow-motion, and animation."@en
"Dziga Vertov's Man with a movie camera is considered one of the most innovative and influential films of the silent era. This dawn-to-dusk view of the Soviet Union offers a montage of urban Russian life, showing the people of the city at work and at play, and the machines that endlessly whirl to keep the metropolis alive. As an early experimental film, use is made of trick photography, slow-motion, and animation."
"This film is at once a documentary of a day in the life of the Soviet Union, a documentary of the filming of said documentary, and a depiction of an audience watching the film. Even the editing of the film is documented. We often see the cameraman who is purportedly making the film, but we rarely, if ever, see any of the footage he seems to be in the act of shooting!"
""Dziga Vertov's Man with a movie camera is considered one of the most innovative and influential films of the silent era. This dawn-to-dusk view of the Soviet Union offers a montage of urban Russian life, showing the people of the city at work and at play, and the machines that endlessly whirl to keep the metropolis alive."--Container."
"The wonders of the camera by the chief exponent of the "Kino-eye" theory of factual, non-narrative film making."
"Random footage taken in the out-of-doors, in the manner of an amateur photographer."
"Classique du cinéma direct (théorie du Kinoglaz) de l'école russe, sous la forme d'un répertoire des techniques cinématographiques. Vertov compose un film sur le phénomène de la perception visuelle. L'homme est derrière la caméra et dans la caméra, l'oeil dans et derrière la caméra, le spectateur acteur et l'acteur spectateur, leur film et notre film."
"Classic experimental film by Dziga Vertov depicting daily life in the U.S.S.R."
"An experimental film which uses numerous cinematic techniques (split screens, multiple superimpositions, variable speeds, et cetera) to present a dawn to dusk view of Moscow, and to study the relation between cinema and reality."
"A multi-level study of daily life in the Moscow of the late 1920's, in which advanced photographic and editing techniques are demonstrated and the relationship between cinematography and reality is explored."
"Two versions of Dziga Vertoz's 1929 classic: first the original silent version, accompanied by a new musical score composed and performed by the Alloy Orchestra, then a repeat of the original with a commentary by the Russian film historian Yuri Tsivian. The film is a montage of Moscow life, showing the people of the city at work and at play, and the machines that keep the city moving. The filmmaker used all the cinematic techniques at his disposal, including dissolves, split screen, slow motion and freeze frames. Released by arrangement with George Eastman House International Museum of Photography and Film."
"A virtual textbook of advanced photographic and editing techniques, as well as a boldly detailed portrait of the Moscow of the 1920s."@en
"A "camera-eye" documentary without any plot, that observes Russian life in a succession of street and interior scenes. As an experimental film, use is made of trick photography, slow-motion, and animation."@en
"A virtual textbook of advanced photographic and editing techniques, as well as a boldly detailed portrait of the Moscow of the 1920s."
"On this special edition video the film runs twice. First you will see the original silent version, with an innovative musical score composed and performed by the Alloy Orchestra. The film is then repeated, but with a commentary by Yuri Tsivian, the leading historian of Russian silent cinema."
"A "camera-eye" documentary without any plot, that observes Russian life in a succession of street and interior scenes."
"A "camera-eye" documentary without any plot, that observes Russian life in a succession of street and interior scenes."@en
"A "camera-eye" documentary without any plot or intertitles, that observes Russian life in a succession of street and interior scenes."
"An experimental film which uses numerous cinematic techniques (split screens, multiple superimpositions, variable speeds, etc.) to present a dawn-to-dusk view of the Soviet Union to study the relation between cinema and reality."@en
"An exuberant montage of urban Russia, it represents the people of the city at work and at play, and the machines that keep the city going, with energetic lyricism. A member of the Soviet avant-garde, Vertov used a variety of pioneering cinematic techniques to document the full spectrum of 1929 Society life - dissolves, split screen, slow motion and freeze frames - and produced a radical experiment in film that is exhilarating and intellectually brilliant."@en
"Dziga Vertov's Man with a movie camera is considered one of the most innovative and influential films of the silent era. This dawn-to-dusk view of the Soviet Union offers a montage of urban Russian life, showing the people of the city at work and at play, and the machines that endlessly whirl to keep the metropolis alive."
""A montage of Moscow life, showing the inhabitants, workers, shoppers, holiday-makers, and the machines that keep the city moving. ... A joyous and spectacular constructivist celluloid poem displaying all the techniques of cinema at his disposal: split screen, dissolves, slow motion and freeze frames"--The Faber companion to foreign films, 1992."
"An experimental documentary film using numerous cinematic techniques (split screens, multiple superimpositions, variable speeds) to present a dawn to dusk view of life in Moscow a little more than a decade after the Russian revolution. Vertov used his brother the cameraman Mikhail Kaufman as the central character of this film (Man with the movie camera) placing him in the most unusual settings. In the last section of the film through the use of stop action techniques, Dziga Vertov brings the camera itself to life, the camera dances away from its owner ending the film."
"A dawn-to-dusk view of the Soviet Union, this documentary follows the activities of a news cameraman as he peers into the lives of his countrymen. The film is a montage of urban Russian life showing the people of the city at work and at play, and the machines that keep the city going. Vertov uses all the cinematic tricks at his disposal - dissolves, split screen, slow motion, freeze-frames - to produce an exhilarating work."