The Men with the Movie Camera

The Poetics of Visual Style in Soviet Avant-Garde Cinema of the 1920s

Nonfiction, Entertainment, Film, History & Criticism, Performing Arts
Cover of the book The Men with the Movie Camera by Philip Cavendish, Berghahn Books
View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart
Author: Philip Cavendish ISBN: 9781782380788
Publisher: Berghahn Books Publication: December 1, 2013
Imprint: Berghahn Books Language: English
Author: Philip Cavendish
ISBN: 9781782380788
Publisher: Berghahn Books
Publication: December 1, 2013
Imprint: Berghahn Books
Language: English

Unlike previous studies of the Soviet avant-garde during the silent era, which have regarded the works of the period as manifestations of directorial vision, this study emphasizes the collaborative principle at the heart of avant-garde filmmaking units and draws attention to the crucial role of camera operators in creating the visual style of the films, especially on the poetics of composition and lighting. In the Soviet Union of the 1920s and early 1930s, owing to the fetishization of the camera as an embodiment of modern technology, the cameraman was an iconic figure whose creative contribution was encouraged and respected. Drawing upon the film literature of the period, Philip Cavendish describes the culture of the camera operator, charts developments in the art of camera operation, and studies the mechanics of key director-cameraman partnerships. He offers detailed analysis of Soviet avant-garde films and draws comparisons between the visual aesthetics of these works and the modernist experiments taking place in the other spheres of the visual arts.

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

Unlike previous studies of the Soviet avant-garde during the silent era, which have regarded the works of the period as manifestations of directorial vision, this study emphasizes the collaborative principle at the heart of avant-garde filmmaking units and draws attention to the crucial role of camera operators in creating the visual style of the films, especially on the poetics of composition and lighting. In the Soviet Union of the 1920s and early 1930s, owing to the fetishization of the camera as an embodiment of modern technology, the cameraman was an iconic figure whose creative contribution was encouraged and respected. Drawing upon the film literature of the period, Philip Cavendish describes the culture of the camera operator, charts developments in the art of camera operation, and studies the mechanics of key director-cameraman partnerships. He offers detailed analysis of Soviet avant-garde films and draws comparisons between the visual aesthetics of these works and the modernist experiments taking place in the other spheres of the visual arts.

More books from Berghahn Books

Cover of the book Mass Media and Historical Change by Philip Cavendish
Cover of the book France and the Construction of Europe, 1944-2007 by Philip Cavendish
Cover of the book Spirits and Letters by Philip Cavendish
Cover of the book Having and Belonging by Philip Cavendish
Cover of the book Intellectuals and (Counter-) Politics by Philip Cavendish
Cover of the book Whose Memory? Which Future? by Philip Cavendish
Cover of the book Postwall German Cinema by Philip Cavendish
Cover of the book Culture and Rhetoric by Philip Cavendish
Cover of the book The Great Tradition and Its Legacy by Philip Cavendish
Cover of the book The Women's Liberation Movement by Philip Cavendish
Cover of the book General de Gaulle's Cold War by Philip Cavendish
Cover of the book Migrations in the German Lands, 1500-2000 by Philip Cavendish
Cover of the book Modern Babylon? by Philip Cavendish
Cover of the book Youth Gangs and Street Children by Philip Cavendish
Cover of the book Fertility, Conjuncture, Difference by Philip Cavendish
We use our own "cookies" and third party cookies to improve services and to see statistical information. By using this website, you agree to our Privacy Policy