By Dziga Vertov
Dziga Vertov used to be one of many maximum innovators of Soviet cinema. the novel complexity of his work—in either sound and silent forms—has given it a critical position inside of modern theoretical inquiry. Vertov's writings, accrued the following, diversity from calculated manifestos surroundings forth his heroic imaginative and prescient of film's strength to darkish ruminations at the state of being inactive compelled upon him by means of the bureaucratization of the Soviet kingdom.
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As for the ﬂag, you misread it because you’re not a native Italian: in Italy, you see, it is customary to place a ﬂag of Italy atop a house when it is completed, which is where the ﬂag under the ﬁlm’s credits is sitting. BC: Were you already thinking in “neorealistic terms,” let us call them, when you made The Children Are Watching Us? VDS: It would perhaps be presumptuous of me to pretend that I was already thinking in terms of neorealism, but it is true that I had realized what possibilities there were in taking the camera outside the studios, into the open air, wherever one would be able to capture the way people really live.
To paint every blade of grass one must be the Douanier Rousseau. In the world of cinema one must have the love of a De Sica for all creation itself. , vol. 2 [University of California Press, 1971]) This seems like a more sentimental statement on Bazin’s part than it is. What he means, I think, is that no subject or character becomes truly important or remarkable until awakened by art. For this reason, De Sica’s love is not greater than art; his art is the love. And it deserves far more critical attention than it has hitherto received.
But, as things transpired, they presaged a new and adult era which was to be sponsored and—even if cautiously— encouraged by the big wheels of Hollywood. BC: What caused this intelligent change of heart in Hollywood? VDS: We don’t need to delve too deeply into causes. Our times are explosive, and people today have developed an analytical approach to life. Television itself had a cataclysmic effect on the American ﬁlm market. Hollywood was rudely aroused from its torpor when in 1947 television was unleashed, and the public was subjected to a repetitive barrage of old ﬁlms.
Kino Eye by Dziga Vertov