Man with a Movie Camera (1929) - News Poster


Documentary Review: Toward a Common Tenderness (2017) by Kaori Oda

“Some things I cannot resist filming, they demand it.”

Ever since the arrival of film as a medium and as an art, the possibilities of it have been endless. In the influential documentary “Man with a Movie Camera” ,P olish filmmaker Dziga Vertov experimented not only with the medium in terms of form, but also aimed to define the relationship of the director, the camera and the subject which is to be filmed. Considering the medium has made many technical advances over the years since the release of Vertov’s there have been quite a few attempts to re-define this relationship. The most noteworthy examples in this field may be Jean-Luc Godard’s “Adieu au Langage” (2014) and the films by Chris Marker.

Generally speaking, the nature of film theory touches upon that exact link to the audience as well as the authenticity of the picture itself. In the end, one of the most interesting aspects,
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The 2017 Muriels Hall Of Fame Inductees

The history of the Muriel Awards stretches aaaalllll the way back to 2006, which means that this coming season will be a special anniversary, marking 10 years of observing the annual quality and achievement of the year in film. (If you don’t know about the Muriels, you can check up on that history here.) The voting group, of which I am a proud member, having participated since Year One, has also made its personal nod to film history by always having incorporated 10, 25 and 50-year anniversary awards, saluting what is agreed upon by ballot to be the best films from those anniversaries during each annual voting process.

But more recently, in 2013, Muriels founders Paul Clark and Steven Carlson decided to expand the Muriels purview and further acknowledge the great achievements in international film by instituting The Muriels Hall of Fame. Each year a new group of films of varying number would be voted upon and,
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New to Streaming: ‘Pete’s Dragon,’ Pedro Almodóvar, ‘Train to Busan,’ ‘The Bfg,’ and More

With a seemingly endless amount of streaming options — not only the titles at our disposal, but services themselves — we’ve taken it upon ourselves to highlight the titles that have recently hit platforms. Every week, one will be able to see the cream of the crop (or perhaps some simply interesting picks) of streaming titles (new and old) across platforms such as Netflix, iTunes, Amazon, and more (note: U.S. only). Check out our rundown for this week’s selections below.

Always Shine (Sophia Takal)

With the excess of low-budget, retreat-in-the-woods dramas often finding characters hashing out their insecurities through a meta-narrative, a certain initial resistance can occur when presented with such a derivative scenario at virtually every film festival. While Sophia Takal‘s psychological drama Always Shine ultimately stumbles, the chemistry of its leads and a sense of foreboding dread in its formal execution ensures its heightened view of
See full article at The Film Stage »

Kirsten Johnson Talks ‘Cameraperson,’ the Art of Interviewing, First-Person Cinema, and Selling a Movie

I’ve spoken to many accomplished artists, but there are perhaps none who bear the same extent of experience as Kirsten Johnson. Don’t worry if the name doesn’t ring any bells: she’s built her repertoire as a documentary cinematographer by working with and for the likes of Michael Moore, Laura Poitras, and Jacques Derrida, and the things she’s seen have been funneled into Cameraperson, a travelogue-of-sorts through Johnson’s subconscious.

Her time as an interviewer, or at least a companion to interviews, came through when we sat down together at Criterion’s offices in New York last month. Never have I been more directly forced to think about my work than when she turned the tables on me — all of which started with some complementary danishes left for us in the room. It’s a level of engagement that befits one of this year’s greatest films,
See full article at The Film Stage »

Film Review: The Childhood of a Leader

  • CineVue
★★★☆☆ We all wonder how momentous individuals came to be: what Hitler or Stalin were like as children; what happened to them. Did we know anyone like that? How far were any of us from becoming something similar? Brady Corbet's debut feature The Childhood of a Leader, shoots for this target with all the subtlety of an artillery barrage. The opening scene paints the mood of the time, World War I, with a concussive score accompanying black-and-white war footage. It's a little like Man With a Movie Camera, only devoid of humour or optimism. This is not industry as a boon to revolution, but industrial slaughter. It shows mankind’s frightening, newfound power - the sort of power great leaders can, and did, come to harness.
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Scott Reviews Dziga Vertov’s Man with a Movie Camera and Other Works [Masters of Cinema Blu-ray]

These were only meant to be seen once. These explosive, unwieldy, nearly unprecedented and almost peerless essay films, densely packed with images so resonant they have been studied for nearly one hundred years, were only meant to be seen once. This observation comes from Adrian Martin on the excellent commentary track accompanying Man with a Movie Camera (1929), easily Dziga Vertov’s most important film. The other four films on the set were produced contemporaneously – Kino-Eye in 1924, Kino-Pravda #21 in 1925, Enthusiasm: Symphony of the Donbass in 1931, and Three Songs About Lenin in 1934. The latter two are sound films. The silent films – Movie Camera, Kino-Eye, and Kino-Pravda #21 feature musical accompaniment, none more accomplished than Alloy Orchestra’s landmark work.

For viewers in my generation, and I would imagine for a great many older than I, Alloy Orchestra’s score for Man with a Movie Camera is as important a component to the film as anything else.
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Pretty Packaging: Man With A Movie Camera Makes You Say Eureka

A few choice distributors have made a name for themselves by making their releases veritable own-able museums about the films they contain. Criterion can rightfully call themselves the inventor of the term "Special Edition", back in their Laserdisc days, experimenting with commentary tracks and such things, and thankfully those things were successful enough to be copied by many. While America had Criterion, in Europe we got a counterpart in UK distributor Eureka, when they decided to launch their own museum-style imprint, calling it the Masters of Cinema series. Movie buffs do well to keep their eyes on the line-ups of both. Case in point: Eureka MoC's new release of Man with a Movie Camera, the 1929 documentary feature by Dziga Vertov, which is still considered...

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DVD Review: Man with a Movie Camera

  • CineVue
★★★★☆ Even now, Dziga Vertov's Man with a Movie Camera remains a shining testament to the early days of filmmaking and the commitment to innovation and exploitation of the then-new medium. It has now also transformed itself into something of a time capsule, literally making itself into a scrapbook of a world long gone. Here, the mummification of time and people has reached its peak and Vertov's experimental masterpiece now a completely temporal travelogue. Its somehow still refreshing to watch, showing audiences spanning generations that film was and always will be a malleable medium as well as a mirror of the world.
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Life Of Pi in ultra high-definition video? No thanks

4K laughs in the face of HD TV, but does anyone besides the purists care?

There are two kinds of home entertainment enthusiasts. The first group would probably never use the phrase “home entertainment” but they represent the core of those who choose to watch movies at home. They’ve got a Netflix account and maybe a hundred plastic discs gathering dust on a shelf, but ultimately they’re more concerned with what they’re going to watch tonight than how they’re going to watch it.

Then there are the purists: a shrinking demographic who care deeply about bitrates, know resolution standards off by heart, and are eager to explore each and every special feature on the upcoming Blu-ray release of Man With A Movie Camera.

Continue reading...
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I Am Belfast review – valuable, heartfelt tribute to a city

This wonderfully inventive meditation on director Mark Cousins’s hometown is refreshingly uncynical and pithy

Mark Cousins has created a meditative tribute to his hometown of Belfast in the “city symphony” tradition that stretches from Dziga Vertov’s Man With a Movie Camera to Terence Davies’s Of Time and the City. It’s musing, free-associating and visually inventive, with wonderful images from cinematographer Christopher Doyle. Like all of Cousins’s documentary film-making and criticism, it refuses easy cynicism in favour of unashamedly heartfelt human sympathy. This is as refreshing, as ever, yet I wasn’t persuaded by his invention of a fictional wise old woman character who personifies Belfast. She is brutally upstaged by two real-life plain-speaking older women that Cousins interviews. I would have preferred to deal directly with the poetry of Cousins’s own authorial voice.

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See full article at The Guardian - Film News »

NYC Weekend Watch: ‘Gimme Shelter,’ ‘Beauty and the Beast,’ ‘The Insider’ & More

Since any New York cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.

Museum of the Moving Image

“See It Big! Documentary” has an amazing weekend, starting with The Last Waltz on Friday. Following that are a new restoration of Vertov‘s Man with a Movie Camera (with live musical accompaniment) and a Maysles double-feature of Salesman and Gimme Shelter on Saturday. Sunday offers Errol Morris‘ Fast, Cheap & Out of Control,
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Masters Of Cinema Acquires Journey To The Shore, Unveils Man With A Movie Camera, Three Days Of The Condor And 1900 For April

Eureka Entertainment's Master of Cinema series announced today that they will be releasing Kurosawa Kiyoshi's Journey To The Shore on the boutique label later this year, following a theatrical run at the Glasgow Film Festival. April's slate of titles was also announced, unveiling a trio of tantalising releases. Sydney Pollack's classic espionage thriller Three Days Of The Condor starring Robert Redford and Faye Dunaway, will arrive in a dual-format release on 11 April. The following week, Bernardo Bertolucci's epic 1900 (Novecento), starring Robert DeNiro and Gerard Depardieu, will be released on Blu-ray for the first time in the UK.The jewel in their crown, however, is the long-awaited unveiling of Man With A Movie Camera, Dziga Vertov's seminal 1929 documentary, which will be released on 18 April...

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Walter Murch Talks the Subtleties of Editing Systems, the Myth of Shot Length, and Visual Sensitivity

I’ve spoken to many people in my time, but few (if any) have the same credentials as Walter Murch, whose résumé would be amazing if it was only for the collaborations with Francis Ford Coppola: editing and / or audio work on all three Godfather films and The Conversation, truly groundbreaking sound design on Apocalypse Now, editing the terribly ignored Youth Without Youth and Tetro — even being around for the early days of The Rain People and lesser-seen oddities such as Captain Eo. But that’s not the half of it, really, since he’s also been instrumental in proving how consumer-grade editing software can be as effective as high-end systems. And then there’s the work that helped George Lucas getting his career started. And the cult sensation that is his only directorial effort, Return to Oz. Or his book, In the Blink of an Eye, which is
See full article at The Film Stage »

Watch: Errol Morris-Approved 'Uncle Nick' Trailer Warns It's Going To Be An Uncomfortable Christmas

  • Indiewire
Watch: Errol Morris-Approved 'Uncle Nick' Trailer Warns It's Going To Be An Uncomfortable Christmas
Read More: Errol Morris Reveals Idfa Top 10 Program, Including 'Man With A Movie Camera' A family of socially awkward people are getting together for the holidays in a house that feels weird to them in its obsessive perfection. Directed by Chris Kasick, written by Mike Demski and executive produced by Errol Morris, "Uncle Nick" stars Brian Posehn, Scott Adsit, Missi Pyle and Paget Brewster and promises one uncomfortable anti-Christmas movie. The official synopsis reads: "Lewd, drunken Uncle Nick stumbles his way through his brother's cookie cutter-family's annual Christmas gathering in the hopes of scoring with a super-hot party guest. But the arrival of his equally crass sister coupled with  Nick's liquor-fueled faux pas cause family secrets to bubble to the surface that might spell disaster for the whole clan before the night is over." The film hits theaters nationwide December 4. Check out the uncomfortable trailer above.  Read...
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Errol Morris reveals Idfa top 10

Errol Morris reveals Idfa top 10
The festival will screen ten films picked by the Us filmmaker, who will also take part in a masterclass.

Errol Morris, the reverred documentary filmmaker, has revealed his top 10 programme for this year’s International Documentary Film Festival Amsterdam (Nov 18-29).

Each year, the festival invites an important figure in the world of documentary to compile a list of ten important works of factual film, all of which will be screened as part of the programme.

Morris’ selections include Werner Herzog’s surreal Fata Morgana, which is set in the Sahara Desert and features an exclusively Leonard Cohen soundtrack, and Dziga Vertov’s experimental early film Man With A Movie Camera.

Idfa will also show six of Morris’ films including his 1978 debut Gates of Heaven and his seminal investigative piece The Thin Blue Line.

Further screenings of his films will be: Fast Cheap And Out Of Control; Mr. Death: The Rise And Fall Of Fred A
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Off The Shelf – Episode 60 – New DVD & Blu-ray Releases For Tuesday, August 11th 2015

This week on Off The Shelf, Ryan is joined by Brian Saur and Scott Nye to take a look at the new DVD and Blu-ray releases for the week of August 11th, 2015, and chat about some follow-up and home video news.

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Episode Links & Notes Follow-up Dressed To Kill Follow-up Vudu Aspect Ratios The Simpsons DVD sales Don Hertzfeldt’s Kickstarter News Arrow Announcements: Jacques Rivette box set, Honeymoon Killers, Nekromantik 2, Moc Announcements: Imamura box set, Naked Prey, Man With A Movie Camera, Seconds Kino Lorber Studio Classics: How I Won The War, Salaam Bombay, Cop, Bray Studios Kickstarter Toy Story That Time Forgot – November 3rd Twilight Time: November / December 2015 titles Star Wars Blu-ray Re-release / Steelbooks New Code Red Blu-rays up for order – Sweet Sixteen, Trick or Treats & The Cheerleaders More Sony Supreme Cinema Series Blu-rays announced: The Fifth Element and Leon The Professional
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Man With a Movie Camera review – pure cinema, still unparalleled

Dziga Vertov’s 1929 masterpiece celebrates the infinite possibilities of film

Made in 1929, this unclassifiable film is the work of pioneering Soviet experimenter David Kaufman, whose pseudonym Dziga Vertov means “spinning top” – if you like, cinema’s original dizzy rascal. Man With a Movie Camera came top last year in Sight & Sound’s poll of greatest documentaries, and to this day it looks and feels like nothing else.

It announces itself in the opening cards as “an experiment in the cinematic transmission of visual phenomena… without intertitles… without a script… without sets, actors, etc” – pure cinema, in other words, and Vertov isn’t just boasting. The film is a kaleidoscopic evocation of life in several cities, notably a sunlit Odessa, and to judge by the film life in the late-20s Ussr seems to have been a fairly jolly affair, although it wouldn’t be once the next decade got under way.
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Why Man with a Movie Camera is the one film you should watch this week – video review

Dziga Vertov's 1929 art film/documentary spins the ordinary workings of city life in Moscow, Kiev and Odessa into a hallucinatory montage of the Soviet Union in frantic, constant motion. Here Peter Bradshaw explains why Vertov was the punk rock film-maker of his day and why Man with a Movie Camera is worth your time. Man with a Movie Camera is released in select UK cinemas today Continue reading...
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This week’s new films

Mission: Impossible - Rogue Nation | Hot Pursuit | The Cobbler | Iris | Beyond The Reach | Cub | Doctor Proctor’s Fart Powder | Man With A Movie Camera

After four previous instalments of Mission Nearly Impossible But Somehow They Pulled It Off, you know where you’re going here, and there’s often a feeling you’ve been there before: exotic locations, opera assassinations, car chases, high-tech MacGuffins, and a plot that puts Cruise’s spy crew out in the cold. But the bar is still pretty high, especially in terms of action set-pieces and authentic-looking daredevil stunts, which are surely a better outlet for Tom Cruise’s excessive zeal than Scientology.

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Man With a Movie Camera review – visionary, transformative 1929 experimental film

Dziga Vertov’s experimental silent documentary upends reality in ways that are still dizzying, thrilling and strangely sexy

The spirit of punk throbs in this extraordinary silent classic from 1929, now on cinema rerelease. Dziga Vertov’s experimental documentary essay remains fascinating after all these years, as potent as an exposed fragment of sodium. It shows scenes of city life in Moscow, Odessa and Kiev, and the credits describe it as an “experiment in cinematic communication of visible events”, which doesn’t do justice to its dedication to transforming and upending reality. This film is visibly excited about the new medium’s possibility, dense with ideas, packed with energy: it echoes Un Chien Andalou, anticipates Vigo’s À Propos De Nice and the New Wave generally, and even Riefenstahl’s Olympia. There are trick-shots, split-screens, stop-motion animation, slo-mo and speeded up action. Welles never had as much fun with his train-set
See full article at The Guardian - Film News »
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