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Dziga Vertov’s Films

  • Adelheid Heftberger
Chapter
Part of the Quantitative Methods in the Humanities and Social Sciences book series (QMHSS)

Abstract

Before I introduce the individual films and their historical context, as well as their formal characteristics, I would like to provide an overview of Vertov’s film theory, which, especially in the early years, he repeatedly promoted in manifestos and lectures. In part influenced by the constructivists and the futurists, Vertov rejected the aesthetic category of the composition of a work of art. The artist was no longer to be perceived as the creator, but as an engineer and constructor who must solve the technical problems of his artistic production in an active process. The accent is on the process-related serial nature of the procedure and on the rational control of the material’s treatment. Vertov adopted the concept of factography (“literatura fakta”), developed by futurism and formalism, and attempted to apply it to the medium of film. Like other revolutionary film-makers, Eisenstein and Vertov wanted to escape the then-customary division of genres into melodrama, adventure film or slapstick and found various solutions to the problem. Eisenstein proclaimed his theory of the “montage of attractions” and moved from the films of agitation and attraction to a hybrid which linked moments of melodrama and documentary film together. By contrast, Vertov began from the newsreel genre, as it was at first the only one to achieve the presentation of actualities required by the factographs, and, using his form of editing, developed from it a kind of rhythmical poetic documentary film.

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Archival Documents

  1. 2000 metrov v strane Bol’ševikov. 1925. Austrian Film Museum, Collection Dziga Vertov, V 059.Google Scholar
  2. Interview with Jay Leyda. 8.2.1972. Austrian Film Museum, Collection Dziga Vertov, Pr USS 009.Google Scholar
  3. Derjabin, Aleksandr. 2009. Vertov i Lenin – Košmar fil’mavantgarda. Unpublished Lecture. Austrian Film Museum, Collection Dziga Vertov, FM 075.Google Scholar
  4. K proėktu ob organizacii tvorčeskoj laboratorii. 1936. ustrian Film Museum, Collection Dziga Vertov, V 131.Google Scholar
  5. K proėktu ob organizacii tvorčeskoj laboratorii II. 1936. ustrian Film Museum, Collection Dziga Vertov, V 132.Google Scholar
  6. K proėktu ob organizacii tvorčeskoj laboratorii III. 1936. ustrian Film Museum, Collection Dziga Vertov, V 133.Google Scholar
  7. Kino-Glaz. 1924. Austrian Film Museum, Collection Dziga Vertov, V 038.Google Scholar
  8. Leninskaja Kinopravda (Kinopravda No. 21). 1924/1925. Austrian Film Museum, Collection Dziga Vertov, V 050.Google Scholar
  9. Montažnyj list. 1934. K kartine 'Tri pesni o Lenine' zvukovogo varianta. Austrian Film Museum, Collection Dziga Vertov, V 108.Google Scholar
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  11. Muzikal’nyj scenarij, sostavil Berezovskij. 1926. Austrian Film Museum, Collection Dziga Vertov, V 065.Google Scholar
  12. Ne žalob, ne stonov. Ca. 1934. Austrian Film Museum, Collection Dziga Vertov, V 122.Google Scholar
  13. Odinnadcatyj. 1928. Austrian Film Museum, Collection Dziga Vertov, V 072.Google Scholar
  14. Statistik über die Planerfüllung bei Mežrabpomfil’m. 18.8.1934. Austrian Film Museum, Collection Dziga Vertov, Pr USS 076.Google Scholar
  15. Udostoverenie (Kinematografičeskoe akcionernoe obščestvo »Mežrabpom-fil’m«). 11.6.1932. Austrian Film Museum, Collection Dziga Vertov, D 017.Google Scholar
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  17. Vertov, Dziga. Pis’mo v redakciju. Written in 1927. Austrian Film Museum, Collection Dziga Vertov, Pr USS 272.Google Scholar
  18. Zvukovoj marš (iz fil’my Simfonija Donbassa). 31.12.1929. Austrian Film Museum, Collection Dziga Vertov, V 090.Google Scholar

Copyright information

© Springer Nature Switzerland AG 2018

Authors and Affiliations

  • Adelheid Heftberger
    • 1
  1. 1.German Federal Archive (Bundesarchiv)BerlinGermany

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