sabato 3 maggio 2014

L'uomo con la macchina da presa - Dziga Vertov

l'uomo con la macchina da presa osserva, documenta, fa il cinema e chi lo guarda vede con il suo occhio.
è come un'ode alla città, al progresso, al futuro, e anche se è muto è molto rumoroso, e solo quando finisce riesci a tirare il fiato.
chissà cosa doveva essere vedere un film così per i contadini che mai erano stati in città.
se ne hai sentito parlare, ma non l'hai visto ancora, ecco qui il film completo (con musica di Michael Nyman) - Ismaele

  

…"Man With a Movie Camera" is fascinating for many better reasons than its ASL, but let's begin with the point Dziga Vertof was trying to make. He felt film was locked into the tradition of stage plays, and it was time to discover a new style that was specifically cinematic. Movies could move with the speed of our minds when we are free-associating, or with the speed of a passionate musical composition. They did not need any dialogue--and indeed, at the opening of the film he pointed out that it had no scenario, no intertitles, and no characters. It was a series of images, and his notes specified a fast-moving musical score.
There was an overall plan. He would show 24 hours in a single day of a Russian city. It took him four years to film this day, and he worked in three cities: Moscow, Kiev and Odessa. His wife Yelizaveta Svilova supervised the editing from about 1,775 separate shots -- all the more impressive because most of the shots consisted of separate set-ups. The cinematography was by his brother, Mikhail Kaufman, who refused to ever work with him again. (Vertov was born Denis Kaufman, and worked under a name meaning "spinning top." Another brother, Boris Kaufman, immigrated to Hollywood and won an Oscar for filming "On the Waterfront.")
Born in 1896 and coming of age during the Russian Revolution, Vertov considered himself a radical artist in a decade where modernism and surrealism were gaining stature in all the arts. He began by editing official newsreels, which he assembled into montages that must have appeared rather surprising to some audiences, and then started making his own films. He would invent an entirely new style. Perhaps he did…

Funcionando como un “caleidoscopio de la vida soviética” en el que se acompaña al hombre de la cámara durante sus movimientos por San Petersburgo un día cualquiera, este documental parte de dos premisas básicas: la primera (enunciada por Vertov ya desde la propia introducción) identifica El hombre de la cámara como un experimento visual que tiene como objetivo la creación de una obra con un lenguaje absoluto y único (sin ninguna participación de elementos de otras artes, como actores, escenarios o interítitulos); la segunda aparece en los primeros segundos del documental y muestra al mismo tiempo a la cámara y al hombre de la cámara manejándola: el espectador comparte desde el primer momento la doble realidad de lo que ve, la puesta en escena (destruyendo el artificio) y la propia obra. Así, El hombre de la cámara está compuesto tanto por la visión sobre el operador (colocando la cámara, filmando, luchando por encontrar la mejor toma o rompiendo la 4ª pared al interactuar con lo filmado) como por las acciones y realidades que él registra. Estas realidades lo abarcan todo: desde lo más “inofensivo” y cotidiano (como los comercios, las profesiones, la ciudad…) hasta lo más privado y escabroso (como las mujeres desnudas, el parto, el funeral, la firma de las actas de divorcio, etc.)… no hay ningún lugar o situación al que la cámara no pueda llegar…

L'Homme à la caméra est un film extrêmement dense, très riche de signifiant, dont il est impossible de tout percevoir en une seule vision. Notre oeil est constamment stimulé par un montage rapide, des superpositions, Vertov crée des rapprochements qui surprennent. Pour mieux le comprendre et l'analyser, il faut donc plusieurs visions et prendre le temps de lire certaines analyses. Chacun de ses plans a un sens, une signification. Regarder L'Homme à la caméra est une expérience sensorielle hors du commun.
da qui

3 commenti:

  1. L'ultima frase sembra scritta apposta per me: ne ho sempre sentito parlare e non l'ho mai visto, infatti. Ci voleva Ismaele, grazie ;)

    RispondiElimina
  2. Francesco , ti ringrazio sempre di cuore per le scoperte e le dimenticanze colmate che mi fai trovare nel tuo post..
    Una felice domenica!

    RispondiElimina
  3. anch'io l'ho visto l'altro giorno per la prima volta :)

    RispondiElimina