Tag Archives: 01. Newly Soviet Russia (1920s)

Vertov, Dziga. Man with a Movie Camera, 2/9, 1929

Kino-Fist

This is the online site of the film collective Kino Fist. We run a more-or-less monthly film screening at the E:vent Gallery in Bethnal Green, London. We aim to show films that are both politically and aesthetically interesting and yet rarely screened. We also aim to reinstate the centrality of both the B-movie and the […]

Vertov, Dziga. “WE: Variant of a Manifesto” (1922)

“The machine makes us ashamed of man’s inability to control himself, but what are we to do if electricity’s unerring ways are more exciting to us than the disorderly haste of active men and the corrupting inertia of passive ones? Saws dancing at a sawmill convey to us a joy more intimate and intelligible than […]

01. Newly Soviet Russia (1920s)

After the revolution of 1917, Soviet cineastes became engaged in state-supported media praxis. Their signal accomplishments included bold theories and practices of montage within the context of cultural revolution. Committed to introducing dialectical materialism to new Soviet citizens, these filmmakers engaged in a formalist project establishing the unique powers of cinema as both modernist technology […]

Vertov, Dziga. Man with a Movie Camera, 1/9, 1929

Eisenstein, S. Odessa Steps, Battleship Potemkin, 1925

Eisenstein, Sergei on the “slogan” (1929)

“It will be the art of the direct cinema of a slogan. Of communication that is just as unobstructed and immediate as the communication of an idea through a qualified word. The epoch of the direct materialization of a slogan takes over from the epoch of a slogan about material…” -Sergei Eisenstein, “Eisenstein on Eisenstein, […]

Russian Modernism

russianmodernism.com A web-site built by USC’s —– program.

Juhasz, A. “I Call for the Death of Cinematography,” 2008

Juhasz, Alexandra. “Mp:me, Variant of a Manifesta, 2008”

(After “WE: Variant of a Manifesto,” Dziga Vertov, 1922) I call myself MP:me (Media Praxis : Alexandra Juhasz)—as opposed to “cinematographer,” one of a herd of machomen doing rather well peddling slick clean wares. I see no connection between true femi-digi-praxis (the integration of media theory, digital practice, and feminist politics in an historical context) […]