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Kino-Eye: The Writings of Dziga Vertov
... In particular, I critique how their approaches, by and large, extract comparative analyses between human functions and computational processes. To formulate an alternative approach, I then draw from rationalisations of media out of media theory, specifically theorisations of the marionette by Heinrich von Kleist (1810) and of the camera via Russian filmmaker Dziga Vertov's (1923) writings on cinema, to present a methodology of de-familiarisation as an approach to rationalising technology on its own terms. In the third section, I apply that perspective to re-think creative AI via the case study of AlphaGo, an algorithm programmed by Google DeepMind to play the game of Go and which made AI history in 2015 by becoming the first computer programme ever to beat a human professional player at the game. ...
... Notes 3 A pigment containing sensory protein which, for many seeing animals, including humans, is located in the retina of the eye that converts light into an electrical signal. 4 This is a neologism coined by Vertov, referring approximately to 'the quality of the cinema-eye' , as noted by the editor and translator of Kino-eye (Vertov 1984). 5 It should be clarified that, contrary to the media's hyperbole, human players have indeed played a fifth line move before and to productive results, as part of the move's strategy would be to emphasise influence and speed to battle for more centre territory in return for giving up peripheral territory, akin to a chess gambit of giving up a pawn piece for centre control. ...
We are entering a new era of technological determinism and solutionism in which governments and business actors are seeking data-driven change, assuming that Artificial Intelligence is now inevitable and ubiquitous. But we have not even started asking the right questions, let alone developed an understanding of the consequences. Urgently needed is debate that asks and answers fundamental questions about power. This book brings together critical interrogations of what constitutes AI, its impact and its inequalities in order to offer an analysis of what it means for AI to deliver benefits for everyone. The book is structured in three parts: Part 1, AI: Humans vs. Machines, presents critical perspectives on human-machine dualism. Part 2, Discourses and Myths About AI, excavates metaphors and policies to ask normative questions about what is ‘desirable’ AI and what conditions make this possible. Part 3, AI Power and Inequalities, discusses how the implementation of AI creates important challenges that urgently need to be addressed. Bringing together scholars from diverse disciplinary backgrounds and regional contexts, this book offers a vital intervention on one of the most hyped concepts of our times.
... In particular, I critique how their approaches, by and large, extract comparative analyses between human functions and computational processes. To formulate an alternative approach, I then draw from rationalisations of media out of media theory, specifically theorisations of the marionette by Heinrich von Kleist (1810) and of the camera via Russian filmmaker Dziga Vertov's (1923) writings on cinema, to present a methodology of de-familiarisation as an approach to rationalising technology on its own terms. In the third section, I apply that perspective to re-think creative AI via the case study of AlphaGo, an algorithm programmed by Google DeepMind to play the game of Go and which made AI history in 2015 by becoming the first computer programme ever to beat a human professional player at the game. ...
... Notes 3 A pigment containing sensory protein which, for many seeing animals, including humans, is located in the retina of the eye that converts light into an electrical signal. 4 This is a neologism coined by Vertov, referring approximately to 'the quality of the cinema-eye' , as noted by the editor and translator of Kino-eye (Vertov 1984). 5 It should be clarified that, contrary to the media's hyperbole, human players have indeed played a fifth line move before and to productive results, as part of the move's strategy would be to emphasise influence and speed to battle for more centre territory in return for giving up peripheral territory, akin to a chess gambit of giving up a pawn piece for centre control. ...
We are entering a new era of technological determinism and solutionism in which governments and business actors are seeking data-driven change, assuming that Artificial Intelligence is now inevitable and ubiquitous. But we have not even started asking the right questions, let alone developed an understanding of the consequences. Urgently needed is debate that asks and answers fundamental questions about power. This book brings together critical interrogations of what constitutes AI, its impact and its inequalities in order to offer an analysis of what it means for AI to deliver benefits for everyone. The book is structured in three parts: Part 1, AI: Humans vs. Machines, presents critical perspectives on human-machine dualism. Part 2, Discourses and Myths About AI, excavates metaphors and policies to ask normative questions about what is ‘desirable’ AI and what conditions make this possible. Part 3, AI Power and Inequalities, discusses how the implementation of AI creates important challenges that urgently need to be addressed. Bringing together scholars from diverse disciplinary backgrounds and regional contexts, this book offers a vital intervention on one of the most hyped concepts of our times.
... Dziga Vertov rejected the idea that montage takes place only during the technical process of film editing. Rather, he argued, there is a "continuous process of editing" (Vertov 1984) from the selection of the theme (plucking it out of a heap of rival themes), the assemblage of research materials (newspaper clippings, books, photographs, maps, etc.), the plan of action ("the montage of your own observations or reports by informants and scouts"), the shooting plan ("selecting and sorting the human eye's observations") and so on. Alexander Rodchenko went further, saying montage "is a system of arranging things. ...
This essay re-examines several examples of non-performance based artworks from the perspective and history of performance art. For instance, the photomontages I produced as an undergrad art student were based on repeated acts of stealing posters from their public sites on the street between my house and the college. Later, while working collaboratively with Mark Hutchinson in Manchester and London, we made photograms and paintings of scenes that we enacted on the street (striking a match, taking a flag for a walk). Years later, as a solo artist again, I produced a body of work in the form of slide presentations that consisted of photographs of me dressed in homemade costumes that cast me as a monster. In my work with the Freee art collective, we used slogans, our own bodies, costumes and props to give material reality to slogans that we treated as scripts. We wrote manifestos and staged events in which participants read. So, while the forms of my work are image based, the rationale is typically tied to the techniques and values of performance.
... In the best casesas said by Eisenstein, Vertov, Godard & Marker et al. (Scherer, 2001),a balance is struck between these two posts. As Hegel would have it, if organize, successfully gets content (Eisenstein, 1947;Vertov, 1984;Hegel, 1991;Scherer, 2001, as cited in Fairfax, 2007. ...
One of the key significances of mythology is to propose a precept for living. For ages, authors have been utilizing mythology as fantasy fiction to demonstrate the triumph of good over evil. This research study subjects to identify social issues that can be derived from the mythological movie Percy Jackson and the Lightning Thief of Chris Columbus in correlation to the present society. The aim of this study is to discover the social issues in the film and find out how do these revealed social issues influence the lives of the people in this present society. Anchored with Marxism approach, this study used in-depth interviews and a focus group discussion as methods of gathering data for the study. This research study revealed that social issues are widely spread even in the present time. As it starts from an individual, it creates a connection that affects single entity to many. The study participants' point of view lets them unlock realizations and discover knowledge regarding the social issues they witnessed and experienced. Finally, this study would be helpful by some means to the future researchers who are interested to conduct a study related to discovering a literature's societal impact and analyzing the social meanings presented by its creator. Films like this (Percy Jackson and the Lightning Thief) can be a great help to the people as its audience to deliver message and convey meaning for the benefit of the society.
... Now I, a camera, fling myself along their resultant, maneuvering in the chaos of movement, recording movement, starting with movements composed of the most complex combinations. (Vertov [ ] 1984 One of the first and purest forms of modernist hope is that technological progress and formal experimentation are undeniably linked with the forthcoming "social progress" (Haraway 2013;Tomas 2013). Is this belief a reality, or no more than an optical illusion? ...
In March of 2014, I attended the first screening of Euromaidan: Rough Cut—a collective documentary chronicle of Ukraine’s Maidan Revolution. Quite unexpectedly the event ended with an improvized mourning ritual for deceased Maidan protesters. Observed in the film, this ritual then transcended the screen and spread through the audience, stimulating an experience similar to a “collective catharsis.” What are the reasons for such a strong affective response to a visual document, capturing the fluidity of still unfolding revolutionary events? This article (written before the Russian invasion of Ukraine) considers both the documentary and its screening as invaluable research sites, allowing us to study ethnographically the uncertainties preceding and accompanying the reification of (new) ideological narratives. By discussing the multifaceted understanding of cathartic experiences in the complex processes of group-building, truth-finding, and justice-making, this article considers new directions for the anthropological understanding of collective catharsis, as it has been experienced in post-industrial democratic societies.
... The documentary aspect and the analogy of time-lapse with the visual technologies like telescopes and microscopes could be traced back to Dziga Vertov theory in "The Birth of Kinoeye" in which he mentioned the cinema as a set of apparatuses of representation for organizing the visible world (Vertov, 1984). As a matter of fact, TL uses interval alteration as the possibility of recording and displaying one's observations, breaking spatial and temporal limits. ...
Le time-lapse nous offre une perspective temporelle élargie. Le sujet général de la thèse est des avantages cognitifs de l'image animée. L'accent est mis sur le Time-lapse (TL), un sous-champ d'images en mouvement, dont la structure rend visible les phénomènes non perceptibles. En discutant des diverses applications du TL et des avantages cognitifs fournis par cet artefact de représentation, nous évaluons le statut épisémique de ces images temporellement modifiées en tant que preuves. À cet effet, nous considérons le TL comme un outil cognitif qui permet d'obtenir des informations sur certaines des caractéristiques visuellement indisponibles du sujet. Nous suggérons que le TL est un mécanisme de production de superstimulus.
... They used intuitively the camera not only to create their own personal stories but to exercise a new mode of observing the immediate reality. This revealed the potential for our participants-filmmakers to become a sort of twenty-first century "cine-eyes" just like the impersonated kino-glaz of Dziga Vertov (Vertov, 1985). Excited by the newly gained ability to express themselves in a new medium, they rushed to observe life as it happens in front of their eyes. ...
The figures 7.1 and 7.2 in Chapter 7 were inadvertently published without permissions from copyright owners. It has now been updated with correct images that were taken from public domain.
... Las posibilidades demiúrgicas del montaje de imágenes parecían entonces in nitas. Dziga Vertov proclamará con entusiasmo el advenimiento de un nuevo hombre: fragmentado y reconstruido al modo de un nuevo monstruo de Frankenstein tecnológico (Vertov, 1984). ...
Esta investigación analiza el período comprendido entre finales de los años 20 y principios de los 30 en la literatura de Francisco Ayala. La cuestión principal gira en torno a la denominación como vanguardista de los escritos del granadino, poniéndolos en relación con otras corrientes de vanguardia españolas y europeas del momento. Ayala fue un escritor fuertemente marcado por la vivencia del cine y de la metrópolis en un momento clave de la historia contemporánea europea, un autor preocupado por el posicionamiento del artista en su contexto político y social.
... They used intuitively the camera not only to create their own personal stories but to exercise a new mode of observing the immediate reality. This revealed the potential for our participants-filmmakers to become a sort of twenty-first century "cine-eyes" just like the impersonated kino-glaz of Dziga Vertov (Vertov, 1985). Excited by the newly gained ability to express themselves in a new medium, they rushed to observe life as it happens in front of their eyes. ...
The so-called European ‘refugee crisis’ has bred a profusion of audiovisual accounts throughout the region, many of which aimed to give voice to hitherto voiceless, uprooted people. But as many of these ‘untold stories’ gain material expression as storylines, we are urged to consider the implications of yet another form of displacement: from the historical person to the film character, from personal stories to media representations. The growing interest into the migrant issue and visual representations of refugees have played an important role in the public construction of the ‘crisis’ but have also, paradoxically, obscured or silenced migrant voices. The authors of this paper, a documentary filmmaker (Trencsényi) and a social anthropologist (Naumescu) seek to explore narrative strategies and ethics of representation in European documentaries made after 2010 as well as their participatory filmmaking project developed in the wake of the 2015 refugee crisis in Hungary. Having collaborated on several documentary films and filmmaking workshops, they approach this issue from the perspective of practitioners, offering a critical reflection as well as possible strategies for those aiming to produce audiovisual works in this field. The inclusion of refugees’ insight and their ways of constructing their own stories as well as their own observations on the receiving societies can open new possibilities for collaboration and creative engagement for social scientists and filmmakers preparing visual fieldnotes, ethnographic and documentary films as well as participatory projects.
... They used intuitively the camera not only to create their own personal stories but to exercise a new mode of observing the immediate reality. This revealed the potential for our participants-filmmakers to become a sort of twenty-first century "cine-eyes" just like the impersonated kino-glaz of Dziga Vertov (Vertov, 1985). Excited by the newly gained ability to express themselves in a new medium, they rushed to observe life as it happens in front of their eyes. ...
This open access book explores the use of visual methods in migration studies through a combination of theoretical analyses and empirical studies. The first section looks at how various visual methods, including photography, film, and mental maps, may be used to analyse the spatial presence of migrants. The second section addresses the processual building of narratives around migration, thereby using formats such as film and visual essay, and reflecting upon the ways they become carriers and mediators of both story and theory within the subject of migration. Section three focuses on vulnerable communities and discusses how visual methods can empower these communities, thereby also focusing on the theoretical and ethical implications of migration. The fourth section addresses the issue of migrant representation in visual discourses. The fifth and concluding section comprises of a single methodological chapter which systematizes the use of visual methods in migration studies across disciplines, with regard to their empirical, theoretical, and ethical implications. Multidisciplinary in character, this book is an interesting read for students and migration scholars who engage with visual methods, as well as practitioners, journalists, filmmakers, photographers, curators of exhibitions who engage with a topic of migration visually.
... They used intuitively the camera not only to create their own personal stories but to exercise a new mode of observing the immediate reality. This revealed the potential for our participants-filmmakers to become a sort of twenty-first century "cine-eyes" just like the impersonated kino-glaz of Dziga Vertov (Vertov, 1985). Excited by the newly gained ability to express themselves in a new medium, they rushed to observe life as it happens in front of their eyes. ...
A common consequence of sticking to a research topic for a fair amount of time is that it starts colonising your everyday life to a point where you may find yourself asking questions to every new acquaintance as if they were participants in your project. Your friends may become tired of your constant interrogations, but unknown people might simply take you as someone with a peculiar sense of curiosity. I believe this is what recently happened to me when coming back from a conference and decided to call an Uber driver at Lisbon airport. This chapter explores some of the functionalities mental maps offer to migration research. Mental maps (or cognitive maps) have long helped understanding how individuals use and perceive local space. Yet, as a visual method, mental maps may be produced and analysed in distinct ways. This chapter navigates through existing research employing mental maps and argues for an interactive approach to mental map analysis, in which the researcher-participant engagement becomes as fundamental as the actual visualisation produced. Based on fieldwork with migrants in Lisbon, Portugal, the chapter illustrates the methodological potential of mental maps for yielding information about the ways migrants actively mobilise urban resources.
... They used intuitively the camera not only to create their own personal stories but to exercise a new mode of observing the immediate reality. This revealed the potential for our participants-filmmakers to become a sort of twenty-first century "cine-eyes" just like the impersonated kino-glaz of Dziga Vertov (Vertov, 1985). Excited by the newly gained ability to express themselves in a new medium, they rushed to observe life as it happens in front of their eyes. ...
The following text aims at analysing a posteriori the organisation of a public gathering on international migration which took place in Marseille in 2018, and brought together scientific, artistic and militant practices. We first describe the craft of this event. Then, we reflect upon the theme of this book section - collaboration. We ask to which extent hybrid practices, that is the de-compartmentalising of social sciences, art and activism, enable the deconstruction of sensational and de-humanised representations of migrations. Finally, we question the limits for these collaborations, when power hierarchies may reactivate.
... They used intuitively the camera not only to create their own personal stories but to exercise a new mode of observing the immediate reality. This revealed the potential for our participants-filmmakers to become a sort of twenty-first century "cine-eyes" just like the impersonated kino-glaz of Dziga Vertov (Vertov, 1985). Excited by the newly gained ability to express themselves in a new medium, they rushed to observe life as it happens in front of their eyes. ...
In his seminal work, Berger (1972) introduces ‘ways of seeing’ as the ways in which meaning is given to the things which are depicted that stand for something. Image-based ethnography has long been interested in these meaning construction processes, namely representations. The ethnographer, or the researcher – as part of the meaning-making process – produces and/or reproduces ways of representation, along with the research design and the outcome. Then the question arises: is a reflexive representation possible? The three chapters in the fourth section of this volume offer thoughts to provoke answers to this question and evoke a theoretical discussion on the dialectical relation between migration and the representation of it, through research. The concluding chapter of this section reflect on key methodological, ethical and theoretical issues connected to the ways of representation and the role of the researcher.
... They used intuitively the camera not only to create their own personal stories but to exercise a new mode of observing the immediate reality. This revealed the potential for our participants-filmmakers to become a sort of twenty-first century "cine-eyes" just like the impersonated kino-glaz of Dziga Vertov (Vertov, 1985). Excited by the newly gained ability to express themselves in a new medium, they rushed to observe life as it happens in front of their eyes. ...
This paper aims at discussing the value of researcher-generated visual methods in studying migration. It focuses on photography as a data collection method, and the problem is presented in the context of researching urban and rural arenas of exercising transnational belonging by migrants and their descendants in new and ancestral homelands. Photography is approached here as a sensorial experience mediating a relationship between the researcher and the participants. The author argues that the relationships occurring around photo-taking in the field are as important as the data collected intentionally. Moreover, the chapter discusses ethical questions prompted by the employment of visual methods, problematizing them in a context of different social, cultural and national settings. With this chapter, the author attempts to answer a question whether researcher-generated visual data can open new angles of analyses of migrants’ life-words and how the employment of visual methods can influence theoretical perspectives within migration studies.
... They used intuitively the camera not only to create their own personal stories but to exercise a new mode of observing the immediate reality. This revealed the potential for our participants-filmmakers to become a sort of twenty-first century "cine-eyes" just like the impersonated kino-glaz of Dziga Vertov (Vertov, 1985). Excited by the newly gained ability to express themselves in a new medium, they rushed to observe life as it happens in front of their eyes. ...
The three chapters in this part of the book have quite different starting points, objectives and questions. This makes them rich and allows a dialogue between the authors on a meta-level: not in the methods of description or analysis of the daily life of migrants, or the representations in their new lives, but in the one that questions the choices made by the producers of images to account for this reality, immaterial, intimate and profound.
... Losing visual substance as an unstable image on platforms, it acquires political resonance creating tractions through its mutability and travel within a voluminous repository where it can be revived and politicised through tagging, hashtagging and traffic, imbricated in the re-direction of gaze and the acquisition of affective spheres engaged in the recalibration of life and death. Its circulation can create 'visual bonds' (Vertov 1995) linking communities and audiences with shared interests and sense of identification just as much as global information capitalism enables mutual excitement (Steyerl 2009, 7) and unanticipated disruptions. It is within this chaos that re-materialisation of Blackness ignites, through new modes of the social and visceral. ...
What does it mean to watch a Black man dying in repeat mode? This paper deconstructs the notion of consuming Black death in a loop (or repeat mode) online and its redistribution in the virtual realm centring the Black body in this pornotropic assemblage. The spectacularisation of Black death and its juxtaposition as a banal encounter is examined against the history of slavery and White oppression. The enactment of Blackness as lacking form or ontology redrafts the virtual sphere in enacting a politics of refusal for reconstituting Blackness adduced through its fluidity. The virtual as an unstable and disembodied realm is re-read as a generative graveyard for reclaiming Black consciousness and Black humanism. In countering the ‘Black horrific’ the paper discerns digital platforms’ agentic and sensuous potential as a stage for performative insurgency to resurrect an affective Black body politic through the disembodied formlessness of the virtual sphere.
Dossiê pedagógico do Plano Nacional de Cinema sobre "O Homem da Câmara de Filmar" (1929) de Dziga Vertov.
The article presents the theoretical views and, to a lesser extent, artistic practices of Joanna Zylinska, who in her artistic activity combines epistemological strategies of a researcher and theorist with her activities in the field of art. She develops in different manners an original project of philosophy as photography, or photography as a form of philosophizing. Posthumanist and post-anthropocentric inspirations and the inclusion of her reflections in a wider circle of a nonhuman turn constitute an epistemological framework of numerous statements devoted to the “photographic condition” in the age of dominance of digital technologies. The author argues that, in fact, photography has been a nonhuman practice since its beginnings, which is developed in her book Nonhuman Photography, preceded by the concepts of mediation and photomediation. In her latest proposals addressing the issues of the functioning of art in the era of algorithmic systems, the author develops the concept of undigital photography, which constitutes an extension of thinking about those manifestations of photography that are not of/by/for the human. The idea of “vision machines” (once proposed by Paul Virilio) takes the form of a holistic view of photography as a “medium of life,” which, unlike modernist descriptions of it as a “medium of death” (Roland Barthes), makes a significant contribution to both the theory and the history of photography. The synthetic presentation of Zylinska’s concepts is an attempt to describe and interpret the contemporary state of theoretical and methodological awareness in the field of contemporary image studies. It stems from the need to constantly reinterpret the canon of thinking about the medium of photography in the epoch of cooperation between human and non-human agencies in the area of pictorial production of images addressed to both people and machines.
Since the twentieth century, machine visions have developed rapidly in the scientific and military fields, and the world has been condensed into an all-seeing picture. In today’s world of networked communication technology, such machine vision has expanded dramatically, and its image archives have now become the world itself. The new machine vision clearly represents a new kind of media ecology, but it is also arguably the new visual problem of our time. In the deep entanglement of image, capital, and power, reality disappears, and humanity is redefined. This paper lists for kinds of eyes: Kino-eye, Robo-eye, Flying-eye, and A-eye, in order to examine the evolution of the subjectivity of visual machines from 20th century to nowadays exploring the contemporary situation of machine vision as a visual culture today and its context.
“Acousmatic Foley” is practice-based research on sound dramaturgy stemming from musique concrète and Foley Art. This article sets out a theory based on the concept of “son-en-scène”, which forms the sonic content of the mise-en-scène, as perceived (esthesic sound). The theory departs from the well-known features of a soundscape (R. M. Schafer, 1999) and the listening modes in film as asserted by Chion (1994), in order to arrive at three main concepts: sound-prop, sound-actor and sound-motif. Throughout their conceptualization, the study theorizes a sonic dramaturgy that focuses on the sounds themselves and their practical influence on film's story-telling elements. For that, it conveys an assessment of sound in film-history based on the “montage of attractions” and foley art, together with the principles of acousmatic listening. This research concludes that film-sound should be to sound designers what a “sonorous object” is to musique concrète, albeit conveying all sound’s fictional aspects.
Dossiê pedagógico do Plano Nacional de Cinema sobre "O Homem da Câmara de Filmar" (1929) de Dziga Vertov.
During the period 1922–37, both the British and Italians launched institutes for educational cinematography and collaborated in the creation of the League of Nations’ International Educational Cinematographic Institute. Their leading newspapers dedicated entire sections to the advertising of educational campaigns through cinema. Comparing official documents and the print apparatus about the establishment and the activities of two institutes for educational cinema in Europe gives us a perception of how similarly and differently the British and Italians used their educational films to convey imperial sentiments and rhetoric into civilian life during fifteen years of colonial rule.
A tese aborda a teoria e história do som e música na tradição documentária, com foco no período
entre a década de 1920 e 1980. Através de cue sheets, partituras, roteiros, diários, cartas, textos
de realizadores, documentos de produções fílmicas, entrevistas, manuais de equipamentos,
materiais de arquivos, textos acadêmicos e dos filmes em si, a pesquisa se debruça sobre a
formação dos aspectos éticos e estilísticos que nortearam o fazer sonoro documentário ao longo
do século XX. Sob uma perspectiva diacrônica, são discutidas as transformações e os aspectos
contingentes dentro de uma filmografia mundial representativa. O primeiro capítulo aborda os
primeiros paradigmas sonoros dos filmes não ficcionais do período mudo. O segundo capítulo
se debruça sobre a conformação dos aspectos sonoros da produção documentária da década de
1930 a 1950 indicando os elementos herdados do período mudo e aqueles que nascem com a
estabilização do formato sonoro-visual do documentário. O terceiro capítulo se dedica ao
documentário moderno – abordando uma filmografia dos anos 1950 aos 1990 – apontando para
os elementos sonoros das décadas anteriores que são reapropriados e transformados nos novos
contextos éticos, estilísticos e tecnológicos que começam a brotar no pós Segunda Guerra. Os
resultados apontam para uma história do som no documentário que se caracteriza mais por seus
aspectos perenes que por eventuais rupturas: o novo não se sustenta – nem
epistemologicamente, nem na práxis – sem aquilo que lhe precedeu. A tese, ao final, busca
contribuir com o nascente campo dos estudos do som do documentário, através de um texto que
se pretende panorâmico e introdutório.
Palavras-chave: documentário (cinema); som no cinema; música de cinema; trilha sonora
Abstract
The thesis addresses the theory and history of sound and music in the documentary film
tradition, focusing on the period between the 1920s and 1980s. Through cue sheets, scores,
scripts, diaries, letters, texts by filmmakers, film production documents, interviews, equipment
manuals, archival materials, academic texts and the films themselves, the research focuses on
the formation of the ethical and stylistic aspects that guided the sound documentary making
throughout the 20th century. From a diachronic perspective, transformations and contingent
aspects within a representative world filmography are discussed. The first chapter addresses the
first sound paradigms of non-fiction films from the silent period. The second chapter focuses
on the conformation of the sound aspects of documentary production from the 1930s to the
1950s, indicating the elements inherited from the silent period and those that were born with
the stabilization of the sound-visual format of the documentary film. The third chapter is
dedicated to modern documentary – covering filmography from the 1950s to the 1990s –
pointing to the sound elements of previous decades that are reappropriated and transformed in
the new ethical, stylistic and technological contexts that began to emerge after the Second
World War. The results point to a history of sound in documentary that is more characterized
by its perennial aspects than by eventual ruptures: the new cannot be sustained – neither
epistemologically nor in praxis – without what preceded it. The thesis, in the end, seeks to
contribute to the emerging field of studies of documentary sound, through a text that intends to
be panoramic and introductory.
Keywords: documentary film; film sound; film music; soundtrack
This essay argues that the filmmaker Gregory J. Markopoulos theorized a discontinuous and intermittent type of montage, developed in relation to his film Twice a Man (1963), and that his theory demonstrates how cinema can be seen as a differential dynamic between a series of individual frames and a more static unity, the shot. This study details how Markopoulos conceived of and put into practice this differential dynamic, and it discusses, briefly, Markopoulos' career as a filmmaker and critic and as an early spokesman for American experimental cinema. Also considered are theoretical points of intersection with Sergei Eisenstein, Werner Nekes, and Sigmund Freud, among others.
In spite of their informal and substandard nature, Chinese urban villages are actually part of the infrastructure that institutionalizes and normalizes China's uneven development by providing cheap dormitory-style accommodations to the country's vast army of unskilled rural migrants who flock to cities as precarious laborers. This extended photo essay uses an urban village renewal project in the southern city Guangzhou to analyze the politics of eviction, demolition, resistance, and gentrification in light of the region's shift from low-value to high-tech industries. When urban villagers appropriated ideas of tradition, lineage, and socialist collectivism to fight against the government and the developer, their purpose was to acquire greater compensation and even symbolic capital in order to secure an urban middle-class future for themselves. In the process, however, they have further foreclosed the futures of many rural migrants whose survival in the city rely on cheap accommodation in these slum-like enclaves, even though survival in this context often implies dull and dead-end jobs with little prospect of social mobility. Drawing on the author's visual project called Where There Is No Room for Fiction, the selected photographs here provide a visual ethnographic account of the contested landscape of an urban village under siege. As well, these images explore the possibility of a critical aesthetics in order to engage the official vision of urban modernity that is saturated with spectacle and speculation.
<<Corre el año 2063, una señal de radio es captada accidentalmente en la Tierra: una voz mecánica que repite las siglas seguido de un código <4BY4 Y4LA>; en un principio se pensó una broma, algunos científicos sugirieron que habría sido causado por el tránsito del cometa 67P/Churyumov-Gerasimenko cerca de la tierra. Posteriores investigaciones confirmarán lo que los expertos denominaron una anomalía, esta señal, también conocida como TSH2063 provendría de una fractura en el continuo espacio-tiempo, de un sitio que solo podría existir en un futuro perdido: la la estación de radio de , la profecía autocumplida imaginada por los Estridentistas en México en 1923.>> TSH2063 plantea un relato de ficción especulativa que sucede en una línea temporal paralela donde la ucronía Estridentista sucedió. Usando arte radiofónico, imagen-movimiento y gráfica postdigital, narra un relato transmedia que entrecruza las formas y prácticas artísticas postmediales con la ficción especulativa. El uso de la ficción no obedece solamente a las posibilidades que sus estéticas permiten, sino que se concibe como una herramienta crítica para interpretar el presente, reapropiarse del pasado e imaginar otros futuros. TSH2063 es también una Plataforma Espacio - Temporal de Artes Especulativas, que a partir del post-media busca generar dispositivos de distribución artística experimental
En enero de 2022 se halló una firma atribuida a Juan Carlos Argüello, Muelle, pionero del graffiti en España, durante las obras de un aparcamiento anexo a la estación de tren de Vigo-Urzaiz, en Vigo (Pontevedra). La firma se conservó prácticamente intacta, oculta tras una densa capa de vegetación, lo que facilitó su identificación por parte de un trabajador tras una operación de desbroce. Gracias a la buena voluntad de los responsables de la obra y del Concello de Vigo, se inició un proceso para llevar a cabo la autenticación in situ de la firma, contando para ello con la colaboración de la Escuela Superior de Conservación Restauración de Bienes Culturales de Pontevedra, y con el asesoramiento de Elena García Gayo y Fernando Figueroa, principales impulsores de la iniciativa de solicitud para la de declaración como Bien de Interés Cultural de la firma de la calle Montera de Madrid para asegurar, así, su conservación. El presente trabajo tiene como objeto analizar el citado proceso desde el hallazgo, analizar los precedentes, analogías y diferencias de las firmas de las calles Montera y Moratín de Madrid, y las de la Plaza de Compostela y Urzaíz en Vigo, y poner en relieve, no sólo la presencia de Muelle en la ciudad de Vigo y su influencia en el desarrollo del writing local, sino la movilidad de su firma en un contexto espacial.
Bu çalışma, Sergei Eisenstein tarafından çekilen Potemkin Zırhlısı adlı filmin tarihsel bağlam içerisinde nerede durduğunu inceliyor. Propagandanın kitleleri etkilemek için bir strateji olarak görüldüğü yıllarda Sovyetler Birliği yöneticileri de onun gücünden faydalanmak istedi. Yeni kurulan devletin aygıtlarını da bu yönde seferber etti. Filmler de bu bağlamda bir propaganda aracı, yönetmenler ise propagandist olarak devrim ilkelerinin yayılması amacıyla kullanıldı. Ustası Kuleşov’dan öğrendiği montaj metodunu propagandist amaçlarla revize eden Eisenstein, filmlerini kitleleri etkilemek amacıyla kullandı. Potemkin Zırhlısı’ndaki anlatı ve üslup yapısı bu amaçla oluşturuldu. Kurmuş olduğu yeni yapıyla Hollywood’un klasik yaklaşımlarını ters yüz eden Eisenstein, getirdiği yeniliklerle film teorisinde nevi şahsına münhasır bir yerde duruyor. Bu makale tam da bu süreçte Eisenstein’in nasıl bir miras üzerinden neleri değiştirdiği ve tarihsel bağlam içinde bunun ne anlama geldiğini, Potemkin Zırhlısı üzerinden anlatmaya çalışıyor.
Introduction . The article is devoted to the little-studied issue of the influence of the American poet Walt Whitman on the work of the Soviet film director Dziga Vertov. The creative world of films and literary experiences of the documentary filmmaker is largely inspired by the images of American poet. Methodology and sources . On the basis of Vertov`s scripts, poems and archival documents, author analyzes the phenomenon of the director`s dialogue with Whitman and his poetry. In a comparative analysis of the aesthetics of the two artists, revealed that the philosophical ideas and imaginative system of the American poet were objects of artistic reflection on Vertov`s documentary films. Results and discussion . The article analyzes the leitmotifs of the work of Dziga Vertov, which, according to the author, were born under the great influence of the poetry of Walt Whitman. The imagery and ideas of the American poet`s works emerged in the director`s texts in the early 1920s. In his first manifestos Vertov introduced the image of an “electric man”, which in many ways correlates with the analogous one in Whitman`s lyrics. The author also points out that the Old Testament Adam appears in the texts and verses of Vertov under the direct influence of the American. The article examines the model of state and society in the works of Vertov and Whitman. The author finds similarities between the two artists in relation to the individual, the desire for equality and emancipation, the search for a spiritual principle in collectivism. The images of Lenin and Lincoln are analyzed separately. The semantic parallels between them in the poetics of the Vertov and Whitman are revealed and shows their direct comparisons in the genre, imagery and approaches. Conclusion . Analysis and comparison of images and motives of the work of Dziga Vertov and Walt Whitman allows to reveal new facets of the artistic world of the Soviet film director. The author notes that the ideological basis of his paintings often hid genuine creative intensions to search for intertextuality, to reveal the poetic image in documentary film.
Force, form, transformations. Kinesthetic musicality and body-worlding in boy ́s war play
War play has generally been studied with violence as a central perspective, investigating its impact on children’s aggression, both in a positive and negative sense. Some research results have claimed that war play can contribute to normalising or even encouraging violent behavior amongst children, while other results have claimed that children can develop important physical, cognitive or social skills through war play. However, this study examines the aesthetic dimensions that children create and explore in war play in their early childhood, above all by placing their movement at the foreground. The phenomenon of war play is here reframed and analysed, mainly through a dance theoretical framework. This framework embraces phenomenology with a focus on the body-subject ́s movement in the world–a focus which is further displaced towards movement in the world with the help of process philosophy.The research data is mainly based on ethnographic field studies and art film, but also of interviews with the participants who are boys aged three to nine years old. The structure and organisation of the analysis is inspired by the principles of Grounded Theory. Six main categories emerged as the result of the study: rhythm, orchestrating space, fictional characters as spaces for exploring movement-quality, the movement canon of war play, phrases and aesthetic attention. Concluding, the results of the thesis are discussed with a focus on the core category, kinesthetic musicality, that connects all the categories found in the research data. Kinesthetic musicality also constitutes the core of an emerging theory that can be further tested and developed in future research. This emerging theory can be described as capturing a dimension of how children in their early childhood understand, explore and create the world.
Keywords: War play, improvisation, proprioception, perception, aesthetics, kinestesia, space, body-subject, transduction, didactic musicality, transformation, force, form, time, becoming, attention, sensation, the thinking body and body-worlding.
Beim Thema Architektur und Film assoziiert man zunächst Kulissen oder Set Design, denkt an Filme wie »Metropolis« oder »Blade Runner«. Dieses Buch schlägt eine neue Sichtweise vor: Es zeigt auf, mit welchen Mitteln der Film Räume entwirft, Emotionen weckt und den Zuschauer in einen Illusionsraum eintauchen lässt. Dieses Wissen ist auch für die architektonische Raumgestaltung von großem Interesse. So werden filmische Raumkonzepte wie der Schnitt oder die Kadrierung aus Sicht der Architektur betrachtet und unter wahrnehmungstheoretischen Gesichtspunkten diskutiert. Theoretische Ansätze und exemplarische Untersuchungsbeispiele erzeugen dabei eine intermediale Schnittstelle, welche ein neues Verständnis für die Entstehung von Raumwirkungen schafft.
This article analyses different ways of perceiving sports based on the study of cinematographic documentary of the first Olympic Games. The aim is to explore the political discourses and aesthetic senses transmitted through images, studying footages from the beginning of the twentieth century until Berlin 1936, when the aestheticization process became analogous to the sportization process, as Norbert Elias pointed out. This ‘movement-image’—as Gilles Deleuze named it—shows that a set of documentary Olympics footages, especially those produced since Saint Louis Games in 1904, projected meanings about the individual and collective body. The hypothesis is that historic filmed physical activities intended to educate through not only the gaze but also the gaze itself, to form ways of perceiving bodies and practices.
The central focus of this paper argues that the informative cinema teaches through the exhibition of educated bodies, but also forms the sensitivity of the viewer perspective. In other words, it not only transmits ways of doing but also forms an ethos, to form ways of perceiving, to form ways of being sensitive. The aim of this study is to explore the political discourses and aesthetic senses transmitted through the Olympic images, which are often loaded with moralism and patriotism. This paper concludes with a conceptual counterpoint between Jacques Rancière and Walter Benjamin about technical reproducibility and political reproduction, considering the aesthetic-political tension that sports put into play.
Bu çalışmanın amacı, dijitalleşen gazetecilik mesleğinin öne çıkan alanlarından biri olmaya aday olan veri gazeteciliğinin ilk olarak, Türki ye’deki İletişim fakültelerinin yüksek lisans ve doktora çalışmalarındaki “yerini” tezler üzerinde, ikinci olarak da makaleler üzerinde tanımlayabilmektir. Analiz tekniği olarak, Bibliyometrik kullanılmakta ve akademik pencereden konunun nasıl ele alındığı, istatistiksel ve sayısal teknikler yoluyla incelenmektedir. Çalışmada, 2000-2020 yılları arasındaki 20 yıllık periyot içinde tezler ve makaleler analiz edilmektedir.
O seguinte artigo busca apresentar um recuo histórico com o intuito de compreender como a tradicional concepção de livro foi reformulada no período de vanguarda, especialmente a russa, a partir da incorporação da fotografia em sua estrutura. Nesse processo, privilegiaremos o estudo sobre as contaminações entre cinema, literatura, revistas e jornais ilustrados, cartazes e design de exposições para que possamos compreender, de modo histórico, o aspecto híbrido dado ao livro fotográfico. Teremos como foco as produções e reflexões teóricas do artista El Lissitzky (1890-1941) e dos cineastas Dziga Vertov (1896-1954) e Sergei Eisenstein (1898-1948) em aproximação com os escritos do filósofo alemão Walter Benjamin (1892-1940).
In its cinematographic dimension, Soviet Constructivism turns the city into a stage upon which amazing deeds, burlesque situations and acrobatics are performed. The circus, music-hall and variety shows are the new genres that are incorporated first into the theatre, advocated by the Left Front of the Arts (LEF), and shortly afterwards into the cinema. At the same time, the urban space becomes the epitome of the technology propelled by the Soviet state, which drove the industrialisation of the country: factories, machines and engines, road traffic, telecommunications and, of course, the cinema. The present paper addresses these questions – the ‘technification’ and the eccentric view of the city of the Soviet cinema-makers – through the analysis of three period-defining works. The first of these is Glumov's Diary (S. M. Eisenstein, 1923), a satirical short film integrated in the mise-en-scene of Enough Simplicity for Every Wise Man, a play by Aleksander Ostrovski; the second is The Extraordinary Adventures of Mr West in the Land of the Bolsheviks (Lev Kuleshov, 1924); and the third work studied is The Adventures of Oktiabrina (Grigori Kozintsev and Leonid Trauberg, 1924), the first film by the FEKS group.
Modernist sculpture is often interpreted through its transparent capacity. In both Clement Greenberg's formalism and the technological and sociological experiments of the avant-garde – especially Lazlo Moholy-Nagy and Vladimir Tatlin – transparency, the capacity to see through a work and view it from multiple perspectives, binds aesthetic taste to ideologies of belonging. And yet the realities of border militarization and forced displacement means these transparent forms are more readily located in the architecture of border fences and camps. Kosovar Flaka Haliti and Burundian Serge Alain Nitegeka create abstract sculptures that directly confront the reality of constrained mobility. Haliti's Speculating on the Blue examines Kosovo's post-conflict agency as constructed by the EU and NATO, where its exclusion extends to refugees entering Europe through the Balkans. And Nitegeka's site-specific installations, informed by his experiences of forced displacement, evoke border fences and improvized shelters common to refugee camps. Rather than the universal schema of Greenbergian transparency, Haliti and Nitegeka evince an “opacity,” theorized by Martiniquais poet/critic Édouard Glissant as a wilful resistance to universal legibility, asserting an irreducible individual agency. Declaring a “right to opacity,” both artists consider how the particular histories of conflict, displacement, and humanitarian intervention relate to other contexts through a recognition of difference. Following Glissant's theory of relation, Haliti and Nitegeka propose new conceptions of commonality where the utopian becomes concrete. Haliti considers the possibility of dissolving partition, as Nitegeka's 100 Stools addresses the need for hospitality and dignity for immigrants in South Africa's xenophobic climate.
O presente artigo sistematiza passagens marcantes do cinema soviético nos anos 20 e descreve suas relações com o contexto político, buscando assim apresentar motivações e consequências ideológicas que se expressam na obra de Dziga Vertov. Ao analisar a trajetória do diretor e a presença do Estado Soviético na produção cinematográfica, realça-se o cinema como arma de luta a favor do socialismo, como defendia Vertov, e a experimentação formal como marca de uma época.
Digital tools are increasingly used in media studies, opening up new perspectives for research and analysis, while creating new problems at the same time. In this volume, international media scholars and computer scientists present their projects, varying from powerful film-historical databases to automatic video analysis software, discussing their application of digital tools and reporting on their results. This book is the first publication of its kind and a helpful guide to both media scholars and computer scientists who intend to use digital tools in their research, providing information on applications, standards, and problems.
This thesis is a creative and critical exploration of how transmedia storytelling meshes with political documentary’s nature of representing social realities and goals to educate and promote social change. I explore this notion through Obrero (“worker”), my independently produced transmedia and transjournalistic documentary project that explores the conditions and context of the Filipino rebuild workers who migrated to Christchurch, New Zealand after the earthquake in 2011. While the project should appeal to New Zealanders, it is specifically targeted at an audience from the Philippines. Obrero began as a film festival documentary that co-exists with strategically refashioned Web 2.0 variants, a social network documentary and an interactive documentary (i-doc).
Using data derived from the production and circulation of Obrero, I interrogate how the documentary’s variants engage with differing audiences and assess the extent to which this engagement might be effective. This thesis argues that contemporary documentary needs to re-negotiate established film aesthetics and practices to adapt in the current period of shifting technologies and fragmented audiences. Documentary’s migration to new media platforms also creates a demand for filmmakers to work with a transmedia state of mind—that is, the capacity to practise the old canons of documentary making while comfortably adjusting to new media production praxis, ethics, and aesthetics. Then Obrero itself, as the creative component of this thesis, becomes an instance of research through creative practice. It does so in two respects: adding new knowledge about the context, politics, and experiences of the Filipino workers in New Zealand; and offering up a broader model for documentary engagement, which I analyse for its efficacy in the digital age. --- https://researchspace.auckland.ac.nz/handle/2292/54643
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