Preface; Acknowledgement; 1. Dziga Vertov and the Soviet avant-garde movement; 2. Thematic meaning of The Man with the Movie Camera; 3. Formal structure of The Man with the Movie Camera; 4. Descriptive score for The Man with the Movie Camera; Appendices; Notes; Frame enlargements; Plates; Index.
This book examines the radical experiments of early Soviet filmmakers, with a detailed analysis of The Man with the Movie Camera (1929).
Review of the hardback: 'The publication of Vlada Petrić's
Constructivism in Film … is a long-awaited and important moment in
film criticism … after decades in which Vertov's concepts of cinema
have been insufficiently researched and often misrepresented,
English-speaking readers and lovers of film as an art form have two
important opportunities: (1) to obtain information directly from
the source and (2) to understand Vertov's expansive achievement and
its theoretical basis. At last there is much to read, seriously
consider, and appreciate.' Journal of Film and Video
Review of the hardback: 'In this remarkable book, Vlada Petrić
explicates the cinematic text of one of the most famous works of
avant-garde nonfiction film, Dziga Vertov's The Man with the Movie
Camera … it is difficult to imagine a better or more complete
formal analysis of a single movie, or a book that teaches us more
about the 'cinematic way of seeing', than Constructivism in Film'.
The Russian Review
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