Rendező:
Dziga VertovForgatókönyvíró:
Dziga VertovOperatőr:
Mikhail KaufmanSzereplők:
Mikhail KaufmanTartalmak(1)
Vertov avantgárd törekvéseinek eme örökérvényű darabjában mesterien ültette át a gyakorlatba a „filmszemről” szóló elméletét. A film hőse valójában nem az ember, hanem maga a felvevőgép. A néző ott ül az operatőr mellett, amikor autójával átsuhan a városon, felkapaszkodik vele a kéményekre és lóg a robogó vonat oldalán. A jeleneteket a laboratóriumi munka és a vágás képsorai szakítják meg. A nézők átélhetik magának a filmnek a születését. A filmet Vertov „vizuális szimfónia”-ként képzelte el, amelyben rendkívül fontos a tiszta filmszerűség. (Örökmozgó)
(több)Recenziók (3)
One of the few films where you can really see how crucial the work of the editor is. Reassembling it completely would give the film a whole new, different meaning. Moreover, it might not create interesting contrasts, such as those between life and death, old and new. The film's title is perfect. Vertov and his brother, the cameraman, capture life in all its splendor, with its speed and slow pace, its beauty and ugliness, and its significance and insignificance.
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No explanatory subtitles, no story, in fact without much of what one would expect, and yet such an enthralling and engrossing affair. For an hour and seven minutes I stared at Man with a Movie Camera in mute amazement. By the way, I saw the version with the Alloy Orchestra score, which was really great, but I'm glad there are other soundtracks. All the more reason to keep coming back to this film (about the film).__P.S. In a number of scenes I seem to recognize the inspiration for Reggio's Koyaanisqatsi. Coincidence? Hardly.
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A revolutionary film, basically, it’s impossible to say whether it is "bad", "excellent" or "passable" because of its heavy experimental character. A picture book with no script and no story that doesn’t get boring is a big win, and what's more, it’s a particular piece of work that will make more than a few film enthusiast get an insatiable desire to grab a camera and head out into the social jungle in search of a perfect, concise and beautiful shot... To be honest, I was expecting a more significant foray into the practice of the Soviet montage school, which continues to be dominated by Comrade Eisenstein, but Man with a Movie Camera is undoubtedly a remarkable contribution to that unique cinematic era.
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Galéria (17)
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