"Film Energy: Process and Metanarrative in Dziga Vertov's THE ELEVENTH YEAR (1928)."

Myslavskyi, V., Chmil, G., Bezruchko, O., Cherkasova, N. From “The Eleventh Year” to “The Man with a Movie Camera”: conceptual search of Dziga Vertov [з анг. – Від «Одиннадцятого» до «Людини з кіноапаратом»: концептуальний пошук Дзиґи Вертова]. Media Education (Mediaobrazovanie). [Bratislava − No..., 2020

The objective of this study is to analyze the outcomes of Dziga Vertov's conceptual search based on his works, The Eleventh Year (1928) and The Man with a Movie Camera (1929), which became the most remarkable documentaries in the Soviet cinematography. The authors also go into the reasons of diametrically opposite reviews of the critics on these films. This article is based on little-known critical publications about these films in the Ukrainian and Russian media in the 1920s. Dziga Vertov came to the All-Ukrainian Photo Cinema Administration (VUFKU) after being fired from Sovkino. Dziga Vertov retained a lot of material shot for the upcoming film, The Man with a Movie Camera, on which he had been working for quite a long time. However, Ukraine stipulated a mandatory condition that he should film The Eleventh Year, a movie about the progress achieved by the republic after the October Revolution. Analysis of Vertov's contemporaries' polemics about The Eleventh Year and The Man with a Movie Camera on pages of specialized journals i

Largely forgotten during the last 20 years of his life, the Soviet filmmaker Dziga Vertov (1896-1954) has occupied a singular and often controversial position over the past sixty years as a founding figure of documentary, avant-garde, and political-propaganda film practice. Creator of Man with a Movie Camera (1929), perhaps the most celebrated non-fiction film ever made, Vertov is equally renowned as the most militant opponent of the canons of mainstream filmmaking in the history of cinema. This book, the first in a three-volume study, addresses Vertov's youth in the largely Jewish city of Bialystok, his education in Petrograd, his formative years of involvement in filmmaking, his experiences during the Russian Civil War, and his interests in music, poetry and technology. Learn more & purchase here: https://www.academicstudiespress.com/browse-catalog/dziga-vertov-vol-1

2019

The article analyzes archival documents of the Soviet film director Dziga Vertov stored in the Russian State Archive of Literature and Art. After the death of the filmmaker his wife Elizaveta Svilova preserved his entire personal archive. Vertov's name was forgotten in the aftermath of his persecution; for years he had no opportunity to publish articles or make new films. His earlier works were no longer shown on screen. The first posthumous publications of his documents date back to late 1950s, assisted by his wife and colleagues. In 1958, Svilova handed over the first collection of documents to the Central State Archive of Literature and Art 1 / 4 Creative Legacy of the Film Director Dziga Vertov in the Russian State Archive of Literature and Art (TsGALI; RGALI since 1992), which constituted series 1 of his personal provenance fond no. 2091. It contains the filmmaker’s creative material: shot lists, scripts, shooting plans, shots from movies, and his articles and manifestos, w...

2018

Anniversary of the Revolution (Godovshchina revoliutsii, 1918) was the first directorial and editorial experience of Dziga Vertov. For many years the film was considered lost and has not been the focus of researchers’ attention. In 1967, Viktor Listov attributed some parts of this gigantic compilation film, which consisted of historical chronicles of the events in Russia from 1917 to 1918. In 2017, the complete list of intertitles for the film was discovered at the Russian State Archive of Literature and Art (RGALI), which has enabled the author of this article to identify all the film’s consti- tuent parts and recover the film in full from the material archived at the Russian State Documentary Film and Photo Archive (RGAKFD). On that basis, it has been possible to reconstruct Dziga Vertov’s debut film, which will fundamentally expand the research field around his cinematic heritage. The history of the film’s reconstruction stands as the focus of this article. https://vimeo.com/ondemand/dzigavertov

The Year's Work in Modern Language Studies, 2008

Contemporary Art, 2018

In this article, two little-known lectures of 1932 by the genius Ukrainian film director and script writer Oleksandr P. Dovzhenko in the Moscow State Institute of Cinematography (Higher State Institute of Cinematography, All-Union State Institute of Cinematography, now the All-Russian State University of Cinematography named after S. A. Gerasimov) were investigated and analised; the reasons for conducting these lectures at Moscow State Institute of Cinematography and not at the Kyiv State Institute of Cinematography (All-Ukranian State Institute of Cinematography, Kyiv State Institute of Film Engineers) were given; the relations of his creative activity in domestic cinema as a director of feature films and educational efforts as a leading Ukrainian mentor of creative youth were covered.

2024

This monograph analyzes the film criticism interpretations of the works of Western cinema in the Soviet Screen magazine, from the year of its foundation (1925) to the year of the end of its Soviet period (1991). The results obtained can be used in the scientific activities of film scholars, culturologists, art critics, sociologists, historians, scientists studying media culture, and will be useful to teachers, graduate students, and a wide range of audience interested in this topic.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

The filmmakers Oleksandr Dovzhenko and Ivan Kavaleridze created bold avant-garde works at the time when Ukrainian cinema was being established, at the end of the 1920s and early 1930s. In effect, the works of these two directors shaped the defining features of Ukrainian cinema. This article discusses the creative methods used by Dovzhenko in his three films Zvenyhora (1927), Arsenal (1929) and Earth (1930), which clearly depict Ukrainian worldviews and mentality. Kavaleridze’s approach is considered in the light of two of his films, Downpour (1929) and Perekop (1930). Already a recognized sculptor at the time, Kavaleridze sought unique forms of expression in film. The approaches these directors took towards framing scenes, montage, lighting and rhythm underpinned the theoretical propositions of their contemporary, Ukrainian film theorist Leonid Skrypnyk. The author suggests that this testifies to a deliberate and comprehensive search for new means of expression in all phases of film...