The institutional and aesthetic form of Soviet cinema, as well as its ideological thrust, cannot be understood without reference to politics, especially the ambitions of Lenin and Stalin. The Bolshevik Regime was quick to realize the power of cinema and the importance of control of the cinema. Lenin...
The institutional and aesthetic form of Soviet cinema, as well as its ideological thrust, cannot be understood without reference to politics, especially the ambitions of Lenin and Stalin. The Bolshevik Regime was quick to realize the power of cinema and the importance of control of the cinema. Lenin"s famous dictum that "for us the most important of all arts is the cinema" captures the ambition to appropriate all means available, especially modern ones, to effect a programme of sociopolitical engineering. On 27 August 1919 Lenin signed s decree nationalizing private cinema enterprises. The nationalization of cinema enterprises was more of symbolic expression of intent practical measure. A succession of measures was taken by the government to reorganize the administration of industry. In December 1922 the Photographic and Cinematic Section of the Commissariat of Enlightenment was reconstituted as the Goskino and given a monopoly on the organization of distribution. In Mantsev Commission was set up to examination the overall organization of Soviet cinema. The All-Union Conference on Cinematic Affairs in the Resolution on Cinema of 13th Party Congress in May were followed by the replacement of Goskino by Sovkino in June 1924. But the state had no money to give to the cinema and the industry was required to be self-financing. Most of the capital revenues came from urban exhibition. Thus the taking from imported foreign films played a crucial role in funding the regeneration of Soviet cinema. The Bolsheviks were unsuccessful in their efforts to create an effective equivalent to the cultural processes of the market economies, and Soviet films generally failed to address popular taste. The relative ideological and economic freedom of the 1920s supported a pluralistic film culture, remembered for the avant-garde and revolutionary classics of Eisenstein, Pudovkin, Dovzhenko, Vertov etc. Dziga Vertov created significance in Russian film history. Vertov"s philosophical and aesthetical position close to the Futurism and Constructivism. Most of Vertov"s films reflected what the government wanted the movies to say about Russian life. He portrayed the Russian people in ways that could only be used through his creative ways of editing images that were real to the human eye. The Kino-eye was a means of making the invisible visible, the obscure clear, the hidden obvious, the disguised exposed, and acting not acting. And Kino-eye=cine seeing (I see through the camera) + cinewriting (I write on film with the camera) + cine organization (I edit)... Vertov"s style was rapid cutting so that the narration could be told with various pictures crossing over. Rapid cutting helped Vertov use various images which he had taken from Russia. 《The Man with the Movie Camera》 is a completely autonomous meta-cinematic celebration of filmmaking and epistemological inquiry that seems to bear the burden of a manifesto. It is a film that questions film. 《The Man with the Movie Camera》 is an effort to represent the complexity mediated multiple relationships of individuals to each other and to the totality of social life. In 《The Man with the Movie Camera》 Vertov believed that the margin of documentary honesty was not crossed. With this film, Vertov intentionally pries what other filmmakers avoid at all costs: all of its illusions are self destructed. In a pries Constructivist"s utilitarian way, the film keep continually reminds us that it is a film. At the same time it tries to prove the Kino-Eye, and it applies the theory of the camera that can go anywhere, see anything, and record everything. Links between people and machines are made apparent along this line of sight. After the first Party Conference on Cinema in 1928 the film industry suffered progressive economic and artistic..
The institutional and aesthetic form of Soviet cinema, as well as its ideological thrust, cannot be understood without reference to politics, especially the ambitions of Lenin and Stalin. The Bolshevik Regime was quick to realize the power of cinema and the importance of control of the cinema. Lenin"s famous dictum that "for us the most important of all arts is the cinema" captures the ambition to appropriate all means available, especially modern ones, to effect a programme of sociopolitical engineering. On 27 August 1919 Lenin signed s decree nationalizing private cinema enterprises. The nationalization of cinema enterprises was more of symbolic expression of intent practical measure. A succession of measures was taken by the government to reorganize the administration of industry. In December 1922 the Photographic and Cinematic Section of the Commissariat of Enlightenment was reconstituted as the Goskino and given a monopoly on the organization of distribution. In Mantsev Commission was set up to examination the overall organization of Soviet cinema. The All-Union Conference on Cinematic Affairs in the Resolution on Cinema of 13th Party Congress in May were followed by the replacement of Goskino by Sovkino in June 1924. But the state had no money to give to the cinema and the industry was required to be self-financing. Most of the capital revenues came from urban exhibition. Thus the taking from imported foreign films played a crucial role in funding the regeneration of Soviet cinema. The Bolsheviks were unsuccessful in their efforts to create an effective equivalent to the cultural processes of the market economies, and Soviet films generally failed to address popular taste. The relative ideological and economic freedom of the 1920s supported a pluralistic film culture, remembered for the avant-garde and revolutionary classics of Eisenstein, Pudovkin, Dovzhenko, Vertov etc. Dziga Vertov created significance in Russian film history. Vertov"s philosophical and aesthetical position close to the Futurism and Constructivism. Most of Vertov"s films reflected what the government wanted the movies to say about Russian life. He portrayed the Russian people in ways that could only be used through his creative ways of editing images that were real to the human eye. The Kino-eye was a means of making the invisible visible, the obscure clear, the hidden obvious, the disguised exposed, and acting not acting. And Kino-eye=cine seeing (I see through the camera) + cinewriting (I write on film with the camera) + cine organization (I edit)... Vertov"s style was rapid cutting so that the narration could be told with various pictures crossing over. Rapid cutting helped Vertov use various images which he had taken from Russia. 《The Man with the Movie Camera》 is a completely autonomous meta-cinematic celebration of filmmaking and epistemological inquiry that seems to bear the burden of a manifesto. It is a film that questions film. 《The Man with the Movie Camera》 is an effort to represent the complexity mediated multiple relationships of individuals to each other and to the totality of social life. In 《The Man with the Movie Camera》 Vertov believed that the margin of documentary honesty was not crossed. With this film, Vertov intentionally pries what other filmmakers avoid at all costs: all of its illusions are self destructed. In a pries Constructivist"s utilitarian way, the film keep continually reminds us that it is a film. At the same time it tries to prove the Kino-Eye, and it applies the theory of the camera that can go anywhere, see anything, and record everything. Links between people and machines are made apparent along this line of sight. After the first Party Conference on Cinema in 1928 the film industry suffered progressive economic and artistic..
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