Russian Formalism in "Man with a movie camera"

• Autores: Vahid Shamshirian, Milad Sotoudeh, Sajad Sotoudeh
• Localización: Avanca / Cinema 2012 / Cine Clube de Avanca (dir.), 2012, ISBN 978-989-96858-2-6, págs. 723-727
• Idioma: inglés
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• Resumen

  • “Man with the movie camera” may be considered a visual statement along with Dizga Vertov debate manifests. Themovie in his view was supposed to be an attempt for the creation of a limpid cinematic language.Vertov, itself, said: “Man with a movie camera is a supreme in respect of pure cinematic language. This film is a newstep of kino- glaz/ kino – eye toward the separation of cinematic language from theatrical and literary language.”In this article, with respect to artistic background of Vertov in his youth age, the effect of Russian Formalist theorieson Dizga Vertov cinematography with the focus on A man with a camera movie will be explored by reading out theircogitative theory in first decades of twentieth century.In this regard, after a short introduction, at first the construction of this movie will be described and then the effectson Vertov cinematography and its aspects on the movie will be scrutinized in three categories: 1.The differencebetween fabula and syuzhet in Formalist theories and its effect on Dizga Vertov. 2. Considering independent facesand text self-explanatory in Formalist theories and its aspects in Man with a movie camera 3.The Jakobson theoryin regard to poetic language and its display in this movie.