The Men with the Movie Camera: The Poetics of Visual Style in Soviet Avant-Garde Cinema of the 1920s

The Men with the Movie Camera: The Poetics of Visual Style in Soviet Avant-Garde Cinema of the 1920s

Philip Cavendish


in contrast to prior reviews of the Soviet avant-garde through the silent period, that have appeared the works of the interval as manifestations of directorial imaginative and prescient, this learn emphasizes the collaborative precept on the center of avant-garde filmmaking devices and attracts cognizance to the the most important function of digital camera operators in developing the visible variety of the movies, specifically at the poetics of composition and lighting fixtures. within the Soviet Union of the Twenties and early Nineteen Thirties, as a result of the fetishization of the digital camera as an embodiment of recent expertise, the cameraman used to be an iconic determine whose inventive contribution was once inspired and revered. Drawing upon the movie literature of the interval, Philip Cavendish describes the tradition of the digicam operator, charts advancements within the artwork of digicam operation, and reports the mechanics of key director-cameraman partnerships. He deals special research of Soviet avant-garde movies and attracts comparisons among the visible aesthetics of those works and the modernist experiments happening within the different spheres of the visible arts.

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