فصل الفلم التسجيلي ، تزيكا فيرتوف والتقليد الإنطباعي ٢-a .. كتاب فهم السينما

Full of the special effects available to the fictional film director in his own films, the technical splendor is startling in its variety. Vertov uses one- or two-frame-long shots, textured material for emotional emphasis, nearly every type of lens and filter, fast and slow motion, reversed motion, still frames, multiple exposure, split screen, and even animation.

Vertov welcomed the coming of sound to cinema and foresaw great new possibilities for the juxtaposition of sound and image. His film Three Songs to Lenin) (1934), for example, is a leap through time and space, not only in its images, but in its sound stream as well. Lenin's archival footage is linked to old newsreels and contemporary interview scenes at breathtaking speed. The soundtrack adjoins recordings of Lenin's words from Soviet songs and a wide range of synchronized and asynchronous sound effects. Since 1922 Vertov had been eagerly awaiting the advent of color photography, even stereoscopic. Everything was possible in this unusually expressive milieu, Vertov enthusiastically proclaimed.

Indeed, Vertov was so enthusiastic about the possibilities of cinema that some of his films are as much hilarious homages to the film-making process as they are documents of reality. Vertov records in (The Man with the Cinema Camera) different events that take place in Moscow within the span of one day and also records how these events are used as raw material by the film-maker. over the camera. Then we see people lining up to enter a theater to watch a movie, then Vertov's main film begins, showing Vertov within the work itself an event, then a cameraman filming the event, then a director cutting the tapes of the film on which the event was recorded, then a snapshot of the audience looking at the image of the event. Perhaps no director in the history of cinema walked With the exception of Kodar, Vertov's astute pleasure has the pleasure of reminding the audience that what they see is not the truth but the image of reality in which artists and technicians have intervened (6-17).
Vertov died in 1954, but his work was killed a little earlier, in the mid-thirties. Vertov criticized, as did Eisenstein and a number of other Soviet artists, and they were ultimately condemned for the formalism of their work, or for a bedraggled preoccupation with form and technique at the expense of content. With the advent of 1932 much of the experimentation that had previously characterized Soviet art ceased. After 1934 socialist realism established itself as an official style of Soviet art. Socialist realism, sometimes known as the Stalin school, was conservative in technical terms and standard in terms of variety of themes and ideas, at least until Stalin's death. Like Eisenstein, Vertov was condemned by the government. He spent the rest of his life editing government news bulletins.

while avoiding the more extravagant recording techniques that accompany Vertov's techniques. Given the exposed subjectivity of Vertov's films, his films are effective only for those who agree in advance with the director's view. That is what his critics have decided.
Considered a bit of a political documentarian, he followed Vertov's methods, especially his montage techniques and his tendency to remind the audience that what they see is an ordered picture of reality in Jean-Luc Coudard's "Maoist" documentaries such as "Winds from the East", "See You with Mao" and "Vladimir". And Rosa consciously adopted the director's number of Vertov's self, although they were not always entirely successful.

Perhaps the most influential of the Virtovian documentaries was the American Emil Di Antonio, whose films (A Matter of Order), (In the Year of the Pig), (Hurry to Judge) and (The Mill) are replete and unabashedly one-sided (6-18).
One of the best is "In the Year of the Pig," a mischievous attack on American involvement in Vietnam. Many of De Antonioni's feet are drawn from the archives of old newsreels, television tapes, and even photographs of these feet cut off. A typically loud story—with interview scenes that present military and political specialists against the war. Footage of the battle of civilian massacres in Vietnam juxtaposes interviews with American leaders of both parties piously justifying their motives for engaging the United States in the battle for the people's thoughts and lives. Juxtaposition in Antonio's films is not limited to the visuals. In one scene, for example, we see the French army shamelessly surrendering to General Giap in Dien Bien Phu. In the audio stream, we listen to a clever orientalist performance of the “Marseilles” anthem, the French national anthem.

In conclusion, Vertov's influence on cinema was greater than that of fantasy filmmakers, especially those working in the avant-garde wave. The montage theories that the great Soviet director came up with had a profound effect on the recording movement in the thirties and forties, especially in Western Europe and the English-speaking countries.