1. Trailer for Dziga Vertov: The Man with the Movie Camera and Other Newly-Restored Works

    01:19

    from Flicker Alley Added 646 2 0

    Order today at www.flickeralley.com/classic-movies/#!/Dziga-Vertov-The-Man-with-the-Movie-Camera-and-Other-Newly-Restored-Works/p/49686485 "I am an eye. A mechanical eye. I am the machine that reveals the world to you as only the machine can see it.” - Dziga Vertov ("Kino-Eye") These words, written in 1923 (only a year after Robert Flaherty’s Nanook of the North was released) reflect the Soviet pioneer’s developing approach to cinema as an art form that shuns traditional or Western narrative in favor of images from real life. They lay the foundation for what would become the crux of Vertov’s revolutionary, anti-bourgeois aesthetic wherein the camera is an extension of the human eye, capturing “the chaos of visual phenomena filling the universe.” Over the next decade-and-a-half, Vertov would devote his life to the construction and organization of these raw images, his apotheosis being the landmark 1929 film The Man with the Movie Camera. In it, he comes closest to realizing his theory of ‘Kino-Eye,’ creating a new, more ambitious and more significant picture than what the eye initially perceives. Now – thanks to the extraordinary restoration efforts of Lobster Films, Blackhawk Films® Collection, EYE Film Institute, Cinémathèque de Toulouse, and the Centre National de la Cinématographie – Flicker Alley is able to present the four films featured on Dziga Vertov: The Man with the Movie Camera and Other Newly-Restored Works in a brand-new, Blu-ray edition. The Man with the Movie Camera (1929) - Named the best documentary film of all time by Sight and Sound, it is presented here in its entirety for the first time since its original premiere. Discovered and restored at EYE Film Institute in Amsterdam—with extensive digital treatment by Lobster Films—the 35mm print from which this edition is, in part, sourced is the only known complete version of the film. Kino-Eye (1924) – A cinematographic poem in which Vertov lays the foundation of his Kino-Eye principles, the film shows the incredible force of his theories, but also the beauty and energy of a society fresh from revolution, ready to face the challenges of a difficult future. Enthusiasm: Symphony of the Donbass (1931) – One of the first Soviet sound films, it deals with the Five Year Plan of the late 1920s, and represents Vertov’s radical attempt to link economic progress with the introduction of sound in cinema. Three Songs About Lenin (1934) – Arguably Vertov’s most personal work, the triptych celebrates the Soviet leader 10 years after his death as seen through the eyes of the people. The Man with the Movie Camera and Kino-Eye feature musical accompaniments by Alloy Orchestra and Robert Israel respectively, while original soundtracks have been restored for Enthusiasm and Three Songs About Lenin. Bonus features include Kino-Pravda #21, a newsreel made in 1925 to mark the first anniversary of Lenin’s death, as well as a booklet featuring information about Vertov’s life and works. English and French subtitles available with original Russian intertitles.

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    • S ∇ И ∇ P L ∆ S T ∆ . Come Pellicole

      02:29

      from S ∇ И ∇ P L ∆ S T ∆ Added 26 2 0

      Artist : S ∇ И ∇ P L ∆ S T ∆ Track : Come Pellicole Lyrics . Music . Voice : P L ∆ S T ∆ Release date: 28/01/2015 https://sonoplasta.bandcamp.com https://www.facebook.com/sonoplastamusic https://twitter.com/sonoplastamusic https://soundcloud.com/sonoplastamusic Footage taken from "Man with a Movie Camera", a silent documentary film by Dziga Vertov (Russia, 1929) and edited by P L ∆ S T ∆

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      • Motion Picture Soundtrack | Radiohead

        03:21

        from Jay Eckensberger Added 8 0 0

        This short music film is set to "Motion Picture Soundtrack" by Radiohead. It was created on the Quantel EditBox using original Super 8mm film material as well as footage sampled from the 1929 Soviet film "Man With A Movie Camera" directed by Dziga Vertov.

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        • Sneak Preview of DZIGA VERTOV: THE MAN WITH THE MOVIE CAMERA AND OTHER NEWLY-RESTORED WORKS

          02:44

          from Flicker Alley Added 330 2 0

          Now – thanks to the extraordinary restoration efforts of Lobster Films, Blackhawk Films® Collection, EYE Film Institute, La Cinémathèque de Toulouse, and Le Centre national du cinéma et de l'image animée – Flicker Alley is able to present the four films featured on DZIGA VERTOV: THE MAN WITH THE MOVIE CAMERA AND OTHER NEWLY-RESTORED WORKS in a brand-new, Blu-ray edition. To purchase a pre-order copy, please visit www.FlickerAlley.com. Orders will be shipped out on or before the official release date of May 26, 2015. Collection includes: • The Man with the Movie Camera (1929) - Named the best documentary film of all time by Sight and Sound, it is presented here in its entirety for the first time since its original premiere. Discovered and restored at EYE Film Institute in Amsterdam—with extensive digital treatment by Lobster Films—the 35mm print from which this edition is, in part, sourced is the only known complete version of the film. • Kino Eye/The Life Unexpected (1924) – A cinematographic poem in which Vertov lays the foundation of his Kino-Eye principles, the film shows the incredible force of his theories, but also the beauty and energy of a society fresh from revolution, ready to face the challenges of a difficult future. • Enthusiasm – The Symphony of the Donbass (1931) – One of the first Soviet sound films, it deals with the Five Year Plan of the late 1920s, and represents Vertov’s radical attempt to link economic progress with the introduction of sound in cinema. • Three Songs About Lenin (1934) – Arguably Vertov’s most personal work, the triptych celebrates the Soviet leader 10 years after his death as seen through the eyes of the people.

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          • The Act of Seeing

            06:00

            from Miguel Casanova Added 13 0 0

            El cine puede entenderse como la proyección de una visión hacia el ojo del espectador, quien ejerce a su vez una mirada sobre algo previamente “mirado”. De ahí que este ensayo audiovisual llamado "The act of seeing" (El acto de ver) quiera volver la vista atrás hacia las películas escogidas, unos hechos pasados de los que nos separan entre 40 y 90 años y que, en general, sus protagonistas ya no pueden ver sino tan solo ser contemplados por otros, desde fuera de “sus propios ojos”. Elizaveta Svilova, la montadora de Dziga Vertov juega el papel de ordenar el mundo que ha registrado "El hombre de la cámara", decidiendo con sus cortes de tijera cuánto tiempo y en qué orden aparecerán las personas y sucesos inmortalizados en el celuloide, algo así como el papel de la Moira en la mitología griega, quien también controlaba el metafórico hilo de la vida de cada mortal, hilando, midiendo y cortando la hebra con una rueca y un huso. Al mismo tiempo, el cadáver y su estudio a través de la autopsia (del griego, αὐτός /autós/ “uno mismo” y ὂψις /opsis/ “ver”) se sirve de dos observaciones distintas de “lo real” para constatar cómo la percepción del paso del tiempo en El hombre de la cámara puede salvaguardar el movimiento mecánico de toda una sociedad, e ir desde la vitalidad material de unos hechos recorridos por esa suerte de nuevo flâneur (Dziga Vertov/Mikhail Kaufman) hacia sus últimas consecuencias, la muerte, y más aún, la deshumanización de unos cuerpos sin identidad en "The Act of Seeing with One’s Own Eyes". La voz en off de Val del Omar y las imágenes de "Aguaespejo granadino" y "Fuego en Castilla" obran la mística necesaria para revelar esta elegía. Así, ese “ver por los propios ojos” no remitiría a un ver para creer de las cosas sino más bien a la necesidad de creer para poder verlas, emancipando la mirada y trascendiéndola más allá de su función biológica. ¿Qué es lo visible para un ojo normal sino tan sólo una parte de la realidad? Para que esas imágenes existan se necesita del artífice que trace sus destinos, manifestándose a través del acto de ver con los propios ojos de uno, o mejor aún, por medio de un tercero que los abra y aclare la vista, el Cine-ojo (The Act of Seeing with Kino–Eye).

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            • Pulizia etica. Trailer

              30:01

              from poor Yorick Added 860 1 0

              Questo è il trailer a "Pulizia etica", un film di Francesca Rusalen e me, del quale si è da poco pubblicato il prologo (https://vimeo.com/122292415).

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              • Steven Wilson - Home invasion & Regret #9. Tribute to Vsevolod Pudovkin, Dziga Vertov & Elizaveta Svilova.

                11:19

                from Roberto Rey Added 396 1 0

                www.robertorey.es MUSIC: Steven Wilson - Home invasion & Regret #9 VIDEO. Mama (Мать) - Vsévolod Pudovkin (1926) Chelovek s kino-apparatom (The Man with the Movie Camera) - Dziga Vertov & Elizaveta Svilova (1929)

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                • CITY SYMPHONY CHICAGO

                  06:12

                  from Deborah Libby Added 60 1 2

                  A tribute to Dziga Vertov's 1929 classic city symphony film, "Man With a Movie Camera." Filmed in Chicago over two days in February, 2015. Music: "Bach, Toccata and Fugue in D Minor" by Illinois Brass Band "Tanz" by MIT Concert Choir "Spewing Rubik's Cubes" by Lee Rosevere "Grey Sunday" by Lee Rosevere "I Am Running From Temporary Success From a Monstrous Vacuum in Pursuit" by Chris Zabriskie

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                  • Infinite Detritus

                    04:08

                    from Mike Comstock Added 26 0 0

                    A anti-war themed montage born out of an editing exercise with footage available in the public domain. Clips include 4-5 from Dziga Vertov's 'A Man With A Movie Camera' Music by Massive Attack.

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                    • Kinonedelja - Online Edition [TEASER]

                      07:56

                      from Österreichisches Filmmuseum Added

                      Die "Kinonedelja" (Filmwoche) war eine sowjetische Wochenschau und die erste Filmarbeit von Dziga Vertov. Zwischen Mai 1918 und Juni 1919 wurden insgesamt 43 Ausgaben produziert. Vertov schrieb die Drehkonzepte und führte bei einigen Ausgaben auch Regie. Im Rahmen des Projektes "EFG1914" und als Fortsetzung der Tradition des Filmmuseums, seit 2005 wichtige Werke von Dziga Vertov in digitaler Form zu veröffentlichen, wurden die in Wien vorhandenen "Kinonedelja"-Ausgaben digitalisiert und in ihrer vollen Länge online zugänglich gemacht. Für die Online-Veröffentlichung wurde der Wiener Bestand mit weiteren Kinonedelja-Ausgaben und Fragmenten aus den Sammlungen des Dänischen Filminstituts (Det Danske Filminstitut) in Kopenhagen sowie des Schwedischen Filminstituts (Svenska Filminstitutet) in Stockholm ergänzt. Entdecken Sie mehr unter http://www.filmmuseum.at/sammlungen/special_collections/sammlung_dziga_vertov/kinonedelja__online_edition The "Kinonedelja" (Kino-Week) newsreels represent Dziga Vertov's first contribution to cinema. A total of 43 issues, each containing an average of 5 to 7 different items, were produced between May 1918 and June 1919. Vertov joined the newsreel’s ranks as a secretary initially but by the fall of 1918 had taken on full responsibility for the series. The films provide an invaluable record of life in the young Soviet Russia, then in the throes of civil war. Within the framework of the "EFG1914" project, and continuing its recent tradition of publishing important works by Dziga Vertov in digital form, the Film Museum has made its complete "Kinonedelja" holdings freely available online. For the online presentation, the Viennese collection is complemented by additional digitized "Kinonedelja" issues and fragments held by the Danish Film Institute in Copenhagen and the Swedish Film Institute in Stockholm. Discover more at http://www.filmmuseum.at/en/collections/dziga_vertov_collection/kinonedelja__online_edition

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