The Men with the Movie Camera: The Poetics of Visual Style in Soviet Avant-Garde Cinema of the 1920s
By Philip Cavendish
not like earlier stories of the Soviet avant-garde throughout the silent period, that have seemed the works of the interval as manifestations of directorial imaginative and prescient, this examine emphasizes the collaborative precept on the center of avant-garde filmmaking devices and attracts recognition to the an important position of digicam operators in developing the visible variety of the flicks, specifically at the poetics of composition and lighting fixtures. within the Soviet Union of the Nineteen Twenties and early Nineteen Thirties, due to the fetishization of the digicam as an embodiment of contemporary know-how, the cameraman was once an iconic determine whose artistic contribution was once inspired and revered. Drawing upon the movie literature of the interval, Philip Cavendish describes the tradition of the digital camera operator, charts advancements within the artwork of digicam operation, and stories the mechanics of key director-cameraman partnerships. He bargains special research of Soviet avant-garde movies and attracts comparisons among the visible aesthetics of those works and the modernist experiments happening within the different spheres of the visible arts.