vertov

Some Elliott updates because I realize it’s been a hot second:

  • currently in rehearsals for my first TYA show, Grace for President, which is gonna be cute as hell
  • last week i got cast in a regional production of The Bridges of Madison County as ensemble, Paolo (lol), and to understudy Michael. so that’s neat!
  • this week i got a job offer from the Atlanta Opera in a part-time patron service position! so that’s fun!
  • i’m so very tired!
  • caty and i are nailing down NYC trip plans for later this year!!
  • i haven’t watched many movies recently because of busy schedules but I did finally watch Dziga Vertov’s Man with a Movie Camera earlier this week because it’s an hour long and i loved the everloving hell out of it, so if you want to kill an hour by watching some experimental Soviet cinema then that’s the way to go. 

okay good deal!

Soviet poster for MAN WITH A MOVIE CAMERA (Dziga Vertov, USSR, 1929)

Designers: Vladimir (1899-1982) and Georgii Stenberg (1900-1933)

Poster source: Christie’s

MAN WITH A MOVIE CAMERA was just voted the Greatest Documentary of All Time in a Sight & Sound poll of 340 critics, programmers and filmmakers.

(And this poster was sold for $176,000 at auction in November 2012, making it one of the ten most expensive movie posters of all time.)

I’m an eye. A mechanical eye. I, the machine, show you a world the way only I can see it. I free myself for today and forever from human immobility.

I’m in constant movement. I approach and pull away from objects. I creep under them. I move alongside a running horse’s mouth. I fall and rise with the falling and rising bodies. This is I, the machine, manoeuvring in the chaotic movements, recording one movement after another in the most complex combinations.

Freed from the boundaries of time and space, I coordinate any and all points of the universe, wherever I want them to be. My way leads to the creation of a fresh perception of the world. Thus I explain in a new way the world unknown to you.

—  Dziga Vertov, 1923
5

EYES IN FILM: 2014 EDITION

“I am eye. I am a mechanical eye. I, a machine, am showing you a world, the likes of which only I can see." 
— Dziga Vertov


Left to right, top to bottom:

Man With a Movie Camera
 (Dziga Vertov, 1929)
Un Chien Andalou (Luis Buñuel, 1929)
Meshes of the Afternoon (Maya Deren/Alexander Hammid, 1943)
The Lost Weekend (Billy Wilder, 1945)
Spellbound (Alfred Hitchcock, 1945)
The Spiral Staircase (Robert Siodmak, 1945)
Sunset Boulevard (Billy Wilder, 1950)
Vertigo (Alfred Hitchcock, 1958)
Psycho (Alfred Hitchcock, 1960)
Peeping Tom
 (Michael Powell, 1960)
Goldfinger (Guy Hamilton, 1964)
Woman on the Dunes
 (Hiroshi Teshigahara, 1964)
Alphaville
 (Jean-Luc Godard, 1965)
Repulsion (Roman Polanski, 1965)
The Russians are Coming, The Russians are Coming (Norman Jewison, 1966)
2001: A Space Odyssey (Stanley Kubrick, 1968)
McCabe & Mrs. Miller (Robert Altman, 1971)
The Texas Chainsaw Massacre (Tobe Hooper, 1974)
Deep Red
 (Dario Argento, 1977)
Rubens
 (Roland Verhavert, 1977)
The Spy Who Loved Me (Lewis Gilbert, 1977)
All That Jazz (Bob Fosse, 1979)
Blade Runner
 (Ridley Scott, 1982)
Goodfellas
 (Martin Scorsese, 1990)
Bram Stoker’s Dracula (Francis Ford Coppola, 1992)
Hard Boiled (John Woo, 1992)
Cube (Vincenzo Natali, 1997)
Titanic
 (James Cameron, 1997)
Fear and Loathing in Las Vegas
 (Terry Gilliam, 1998)
Requiem for a Dream
 (Darren Aronofsky, 2000)
Donnie Darko (Richard Kelly, 2001)
Mulholland Drive
 (David Lynch, 2001)
Vanilla Sky
 (Cameron Crowe, 2001)
Gangs of New York
 (Martin Scorsese, 2002)
The Lord of the Rings: The Two Towers
 (Peter Jackson, 2002)
The Magdalene Sisters (Peter Mullan, 2002)
Minority Report (Steven Spielberg, 2002)
The Fountain
 (Darren Aronofsky, 2006)
The Diving Bell and the Butterfly
 (Julian Schnabel, 2007)
Hunger (Steve McQueen, 2008)
Splice
 (Vincenzo Natali, 2009)
Let Me In (Matt Reeves, 2010)
Hugo (Martin Scorsese, 2011)
Looper
 (Rian Johnson, 2012)
Prometheus (Ridley Scott, 2012)