International Journal of Contents

  • 제4권4호
  • /
  • Pages.24-29
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  • 2008
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  • 1738-6764(pISSN)
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  • 2093-7504(eISSN)
한국콘텐츠학회 (The Korea Contents Association)
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Review on Historical Assessment and Perception of Dziga Vertov

  • 발행 : 2008.12.31
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초록

In 1920s, Soviet silent films enjoyed unprecedentedly great prosperity throughout world film history. Particularly, Dziga Vertov could develop 'montage' in collaboration with Sergei Eisenstein and thereby could work as the engines behind development and leap of Soviet films toward 'new concepts' of 'new films' worldwide. However, Vertov's original reputations - the best film theorist and avant-gardist as well as great cineaste in his contemporary age - have been misunderstood or underestimated, so that he has been still misestimated or distorted as radical formalist and documentary propagandist. In regard to these points, this study aims to take Gilles Deleuze's modal esthetic approaches to further considering and historically re-highlighting D. Vertov's film theories that are based on the principle of 'film-reality' and the concept of 'Life As It Is' according to 'kino-eye' method and 'interval' theory as a part of futurism and constructivism breaking down any attribute of traditional narrative films.

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참고문헌

  1. Seth Feldman, Dziga Vertov: A Guide to References and Resources, Boston: Hall, pp.32-33, , 1979.
  2. Vlada Petrie, "The Man with a Movie Camera", Constructivism in film, Cambridge: Cambridge university Press, pp.121-126-1-69, 1987.
  3. Dziga Vertov, "On the significance of non-acted cinema", kino-eye: The writings of Dziga Vertov, Kevin O'brien, trans, California Press, 1984, p.36.
  4. Dziga Vertov, "From Kino-Eye to Radio-Eye", Kino-Eye, pp.87, 1976.
  5. Vlada Petrie, "Dziga Vertov as theorist", Cinema Journal 1, Fall 1978, pp.41-42-3.
  6. Sung Su Park, "Dziga Vertov", Deleuze and Cinema, Culture Technology Press, pp.214-227, 1998.
  7. Dziga Vertov, "Kinoks: A Revolution", Kino-Eye, 1976, pp.20-21.
  8. Vlada Petrie, "The Man with a Movie Camera", Constructivism in film, Cambridge: Cambridge university Press, pp.50-51, 1987.
  9. Richard M. Barsam, "The Beginnings of the Documentary Film", Non Fiction Film: A Critical History revised and expanded, Indiana University Press, pp.73, 1992.