Full Movie Reviews
Rating of
4/4
Man with a Movie Camera
SteelCity99 - wrote on 04/24/2018
This man had a purpose, and a very specific one. Initially, a documentary had the aim of working as a reflection of reality. Dziga Vertov had as a main purpose to create a universal language through cinema that would be capable of connecting the most outstanding and respected art forms created by the human being. Chelovek s Kino-apparatom, a title that was translated as "The Man with a Movie Camera", is officially one of the most influential documentaries within the genre, not only because of the subject matter treated, but also because of its direction and filmmaking style. This is the kind of cinematic treasures I thank humanity for granting them to us during past periods. Certainly, Chelovek s Kino-apparatom is one of the most important feature films in cinema history and, arguably, …
Rating of
4/4
Between Documentation and Cinematic Art
cacb3995 - wrote on 12/10/2017
Cinema is a relatively young art form. It’s been roughly 130 years since the invention of the cinematograph by the brothers Lumiere, but in this (compared to other arts) short period of time we’ve seen many masterpieces being written, produced, shot, edited, etc. It is no surprise that in this amount of time all the great filmmakers in their own eras and countries have occupied themselves with exploring and expanding the possibilities that the medium has to offer. It does come as a (kind of) surprise, that it was a relatively early film that did exactly that, developing techniques that decades later would be used and expanded on by many respected creators. The film in question is titled “The Man with the Movie Camera”, directed by Dziga Vertov in 1929. A non narrative movie, …
Rating of
N/A
Tempo
cinegeek.de - wrote on 08/28/2016
Our Daily Free Stream: Vertov - Man With A Movie Camera. Leicht vorstellbar, wie sehr das Publikum im Jahr 1929, dem Jahr als Vertovs Man With A Movie Camera ins Kino kam, überfordert gewesen sein muss. Während der Stummfilm-Ära war das Publikum gewohnt, dass Einstellungen zehn Sekunden oder länger andauerten. Hier waren es zwei Sekunden - eine Geschwindigkeit, die uns moderne Blockbuster zumuten. Genau darin liegt der grosse Einfluss, den Vertov ausübte! Dziga Vertov fühlte sich eingeengt von der Tradition des Theaters. Für ihn war Kino bis dahin nur eine Fortführung der Bühne, was ihn nicht befriedigen konnte. Es war an der Zeit für einen neuen Stil! Ein Film, der so schnell voranschritt wie unser Gehirn in seinen Assoziationen! Keine Dialoge, Untertitel, kein Szenario! Eine …
