DOCSLIB.ORG

Constructivist Cinema

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Constructivist Cinema CONSTRUCTIVIST FOR THE FOR DESIGN SOVIET CINEMA 1 2 TABLE OF CONTENTS Periodicals....................................................................................................4 Prospectuses..............................................................................................29 Advertisements..........................................................................................43 Biographical.Pamphlets...........................................................................52 Books...........................................................................................................68 Wrappers....................................................................................................82 Framed.Artwork,.Posters..........................................................................95 3 PERIODICALS Kino-Fot [Movie-Photo]: Magazine of Cinematography and Photography. 1922. $30,000 Aleksei.Gan,.editor-publisher..Moscow:.Mospolitgraf. Press.and.Glavlit.[MKKh.Press]..Folio;.black-and-white. illustrations.throughout;.red.and.black.photo.illustrated. wrappers..Edition:.8,000. No. 2: September 8-15, 1922..Photo.illustrated.wrappers. with.multiple.images;.lightly.tanned. No. 3: September 19-25, 1922..Cover: Varvara Stepanova,. illustrated.with.caricature.of.seated.Charlie.Chaplin.and.cane;. wear.to.extremities;.tanned;.hinges.fragile.. No. 4: October 5-12, 1922..Cover: Alexander Rodchenko,. illustrated.with.still.from.Not For Money Born;.tanned... 4 Kino-Front. 1926. $25,000 K..Jukov,.editor..Moscow:.Kinopechat.and.the.. Organ.of.the.Association.of.Revolutionary.. Cinematography..Folio..Edition:.4,000. No. 1 (4): April, 1926..Cover: Gustav Klutsis..Red.and. black.photo.illustrated.wrappers.with.four.stills.from.. The Traitor;.printed.signature.lower.right.hand.corner... No. 7-8. Cover: Gustav Klutsis..Black.and.blue.photo. illustrated.wrappers.with.four.movie.stills.from.Sixth Part of the World.. No. 9-10..Cover: Gustav Klutsis..Black.and.purple.photo. illustrated.wrappers.with.stills.from.The General Line... 5 Sovetskoe Kino Sovestskoe Kino [Soviet Cinema] Beskin,.O..M.,.editor..Moscow:.Kinopechat.. Organ.of.the.Artistic.Council.in.Charge.of. Cinema.Under.the.Main.Political.Enightenment. Committee..Folio;.black-and-white. illustrations.throughout. 1926: $12,000 No. 1: February 1926..Cover: Konstantin Vialov..Black.and.yellow.photo. illustrated.wrappers.with.stills.from.Miss Mend;. hinges.tender..Edition:.3,500.. No. 2: March 1926.. Cover: Konstantin Vialov..Black.and. green.photo.illustrated. wrappers;.hinges.tender.. No. 3..Cover: Konstantin Vialov.. Black.and.pink.photo. illustrated.wrappers. with.stills.from.Wind and Traitor;.hinges.tender;. autograph.notation. “p..9-10.–.S.Tretjakov.” Edition:.5,000. 6 No. 4-5..Black.and.blue. photo.illustrated.wrappers. with.still.from.Red Putilovets;. hinges.tender..Edition:.5,000. No. 6-7..Cover: Varvara Stepanova..Black.and. orange.photo.illustrated. wrappers.with.still.from.. One Sixth of the World;. hinges.tender..Edition:.6,000.. No. 8..Cover: Varvara Stepanova..Black.and.yellow. photo.illustrated.wrappers;. hinges.tender..Edition:.5,500. 1927: $15,000 No. 1..Black.and.blue.photo.illustrated.cover;. photograph by Varvara Stepanova;.hinges.tender.. Edition:.5,500. 7 No. 2..Cover: Varvara Stepanova.. Black.and.green. photo.illustrated. wrappers;.hinges. tender..Edition:. 5,500. No. 3..Black.and. brown.photo. illustrated.wrappers;. hinges.tender.. Edition:.4,500. No. 4..Cover: Varvara Stepanova..Black.and. yellow.photo.illustrated.. wrappers;.hinges.. tender..Edition:.4,000. No. 5-6..Cover: Varvara Stepanova.. Black.and.green.. photo.illustrated.. wrappers;.hinges.. tender..Edition:.4,000. 8 No. 7..Cover: Varvara Stepanova..Black.and. red.photo.illustrated. wrappers.with.still.from. October in Moscow;. hinges.tender..Edition:. 4,000. No. 8-9..Cover: Varvara Stepanova..Black.and. red.photo.illustrated. wrappers.with.still.from. Al’bidum;.hinges.tender.. Edition:.5,000. 1928: $4,500 No. 1..Cover: Varvara Stepanova..Black.and. green.photo.illustrated. wrappers;.hinges. fragile..Edition:.5,000. No. 2..Cover: Varvara Stepanova..Black.and. yellow.photo.illustrated. wrappers.with.stills. from.Shanghai Document;.autograph. notation:.“B..Smirnov.”. Edition:.4,000. 9 Novyj Zritel [New Spectator]. $10,000 Rozen,.M..I.,.editor.(unless.otherwise.noted)..Moscow:.Tea-kinopechat.and.Organ.of.. the.Moscow.Regional.Department.of.Political.Education.and.Management.of.Entertainment.. Enterprises..4to.;.black-and-white.illustrations.throughout;.two-color.wrappers. 1925 Kamen’ev,.O.D.,.editor..No. 45: November 10, 1925..Moscow:. Moskovskoe.Teatral’noe.Izdatel’stvo. [Moscow.Theater.Publications]... Black.and.pink.photo.illustrated.. wrappers;.tanned;.hinges.tender.... 1926 No. 52: December 28, 1926..Cover: Stenberg Brothers. Black-and-white. photo.illustrated.wrappers.with.stills.from. Night and Day;.tanned;.hinges.tender.. 1927 No. 3: January 18, 1927. Cover: Konstantin Vialov.. Two-part.issue:.first.volume,. pp..1-16,.second.volume.pp..17-32;. identical.covers..Gray.photo. illustrated.wrappers.with.stills. from.Buy a Revolver;.tanned. No. 36: September 6, 1927.. Black-and-white.photo.illustrated. wrappers;.tanned;.hinges.tender. 10 No. 43: 25 October 1927.. Black-and-white.photo.illustrated.. wrappers.with.stills.from.October;. tanned;.hinges.tender. No. 45: November 8, 1927.. Black-and-pink.photo.illustrated.. wrappers;.tanned;.hinges.tender.. 1928 No. 1: January 3, 1928..Black-and-white. photo.illustrated.wrappers.with.stills. from.Radio;.lightly.tanned. Monochinenkov,.M.,.editor... No. 25/26: June 24, 1928..Black- and-white.photo.illustrated.wrappers;. tanned. Monochinenkov,.F.,.editor..No. 38: September 16, 1928..Black-and- white.photo.illustrated.wrappers;.. hinges.tender;.tanned. 11 Kino Zhurnal A.R.K [Association of Revolutionary Cinematographers]. $4,000 Lebedev,.Nikolai,.editor.. Moscow:.Association.of. Revolutionary.Cinematographers. and.Kinopechat..Folio;.black-and- white.illustrations.throughout.. 1925 No. 2: February 1925..Cover: Petr S. Galadzhev (“P.S.G.”)..Green.and. black.illustrated.wrappers;.lightly. foxed,.tanned;.hinges.tender.. No. 3: March 1925..Cover: Petr S. Galadzhev (“P.S.G.”)..Blue.and. black.illustrated.wrappers;.foxed,. tanned;.hinges.tender.. No. 4-5: April-May 1925..Cover: Petr S. Galadzhev (“P.S.G.”). Red.and.black.illustrated.wrappers;.tanned;.hinges.tender. No. 6-7: June-July 1925..Cover:.Petr.S..Galadzhev.(“P.S.G.”).. Brown.and.blue.illustrated.wrappers;.tanned;.hinges.tender.. 1926 No. 1: January 1926..Cover: Petr S. Galadzhev (“P.S.G.”)..Orange. and.green.illustrated.wrappers;.lightly.tanned;.ink.marking.to.back. cover;.hinges.tender.. 12 Proletarskoe Kino [Proletarian Movies]. $2,000 Sutyrin,.V.,.editor..Moscow:.. Government.Publishing.House.. of.Literature.and.the.Organ.of.. the.Association.of.Workers.of.. Revolutionary.Cinematography.. 4to.;.hinges.fragile;.red.and.. black.illustrated.wrappers. No. 1, 1932..Cover: P. Klettenberg..Photo. illustrated.wrappers;.tanned;.hinges.fragile.. No. 2, 1932..Photo.illustrated.wrappers. with.still.from.Mountains of Gold;.tanned;. hingles.fragile. No. 4, 1932..Photo.illustrated.wrappers;... tanned;.hinges.fragile;.wear.to.extremities. No. 13-14, 1932..Photo.illustrated.wrappers. with.still.from.Cases and People;.wear.to. extremities;.tanned;.hinges.fragile. Kino I Zhizn [Film and Life]. $1,000 Rudoj,.Ja..B.,.editor..Kino I Zhizn [Film and Life]. No. 14, May 11, 1930..Moscow:.Tea-kinopechat,.1930. Folio;.black-and-white.illustrations.throughout;.black-. and-white.photo.illustrated.wrappers;.lightly.tanned.. In.a.specially.made.cloth.slipcase.. 13 Ekran: Kino-Gazety [Screen of Movie Gazette]. 1925. $8,500 [full run] Shutko,.Kirill.Ivanovich.and.Vladimir.Alekseevich.. Erofeev,.editors..Moscow:.Soviet.Movie.. Publishing.House..4to.;.black-and-white.. illustrations.throughout..Art director: Petr S. Galadzhev.. No. 1: January 13, 1925..Cover: Petr S. Galadzhev.. Black-and-white.photo.illustrated.wrappers.with.. stills.from.Death Ray;.tanned;.heavy.wear,.inexpertly. repaired.with.clear.tape... No. 2: January 20, 1925..Black-and-white.photo. illustrated.wrappers;.wear.to.extremities;.lightly.tanned. No. 3: January 27, 1925..Cover: Petr S. Galadzhev. Black-and-white.photo.illustrated.wrappers.with.stills. from.Enemy of the People;.light.wear.to.extremities;. lightly.tanned.. No. 4: February 3, 1925..Black-and-white.photo. illustrated.wrappers.with.stills.from.For the Black Heart;.light.wear.to.extremities;.lightly.tanned. No. 5: February 10, 1925..Black-and-white.photo.illustrated.wrappers.with.stills.from.Executioners;.light. wear.to.extremities;.lightly.tanned. No. 6: February 17, 1925..Black-and-white.photo.illustrated.wrappers.with.stills.from.Wolves—Black Deed;. light.wear.to.extremities;.lightly.tanned. No. 7: February 24, 1925..Black-and-white.photo.illustrated.wrappers.with.stills.from.Mute Witnesses;. light.wear.to.extremities;.lightly.tanned. No. 8: March 3, 1925..Black-and-white.photo.illustrated.wrappers;.light.wear.to.extremities;.lightly.tanned. No. 9: March 10, 1925..Black-and-white.photo.illustrated.wrappers;.light.wear.to.extremities;.lightly. tanned. No. 10: March 17, 1925..Black-and-white.photo.illustrated.wrappers.with.stills.from.Enemy of the People;. light.wear.to.extremities;.lightly.tanned. 14 15 Kino-Nadelia [Movie Weekly]. $8,000 Arshavskij,.K.G..Leningrad-Moscow-Berlin:.. Northwest.Films-International.Workers’.Relief.Agency.. Large.folio;.black-and-white.illustrations.throughout;.. red.and.black.photo.illustrated.wrappers.
Load more

Recommended publications
  • A Legacy Regained: Niko and the Russian Avant-Garde
    A LEGACY REGAINED: NIKO AND THE RUSSIAN AVANT-GARDE PALACE EDITIONS Contents 8 Foreword Evgeniia Petrova 9 Preface Job de Ruiter 10 Acknowledgements and Notes to the Reader John E. Bowlt and Mark Konecny 13 Introduction John E. Bowlt and Mark Konecny Part I. Nikolai Khardzhiev and the Russian Avant Garde Remembering Nikolai Khardzhiev 21 Nikolai Khardzhiev RudolfDuganov 24 The Future is Now! lra Vrubel-Golubkina 36 Nikolai Khardzhiev and the Suprematists Nina Suetina 43 Nikolai Khardzhiev and the Maiakovsky Museum, Moscow Gennadii Aigi 50 My Memoir of Nikolai Khardzhiev Vyacheslav Ivanov 53 Nikolai Khardzhiev and My Family Zoya Ender-Masetti 57 My Meetings with Nikolai Khardzhiev Galina Demosfenova 59 Nikolai Khardzhiev, Knight of the Avant-garde Jean-C1aude Marcade 63 A Sole Encounter Szymon Bojko 65 The Guardian of the Temple Andrei Nakov 69 A Prophet in the Wilderness John E. Bowlt 71 The Great Commentator, or Notes About the Mole of History Vasilii Rakitin Writings by Nikolai Khardzhiev Essays 75 Autobiography 76 Poetry and Painting:The Early Maiakovsky 81 Cubo-Futurism 83 Maiakovsky as Partisan 92 Painting and Poetry Profiles ofArtists and Writers 99 Elena Guro 101 Boris Ender 103 In Memory of Natalia Goncharova and Mikhail Larionov 109 Vladimir Maiakovsky 122 Velimir Khlebnikov 131 Alexei Kruchenykh 135 VladimirTatlin 137 Alexander Rodchenko 139 EI Lissitzky Contents Texts Edited and Annotated by Nikolai Khardzhiev 147 Nikolai Khardzhiev Introductions to Kazimir Malevich's Autobiography (Parts 1 and 2) 157 Kazimir Malevieh Autobiography 172 Nikolai Khardzhiev Introduction to Mikhail Matiushin's The Russian Cubo-Futurists 173 Mikhail Matiushin The Russian Cubo-Futurists 183 Alexei Morgunov A Memoir 186 Nikolai Khardzhiev Introduction to Khlebnikov Is Everywhere! 187 Khlebnikov is Everywhere! Memoirs by Oavid Burliuk, Nadezhda Udaltsova, Amfian Reshetov, and on Osip Mandelshtam 190 Nikolai Khardzhiev Introduction to Lev Zhegin's Remembering Vasilii Chekrygin 192 Lev Zhegin Remembering Vasilii Chekrygin Part 11.
    [Show full text]
  • Politics and History of 20Th Century Europe Shifted Radically, Swinging Like a Pendulum in a Dramatic Cause and Effect Relationship
    Politics and history of 20th Century Europe shifted radically, swinging like a pendulum in a dramatic cause and effect relationship. I explored the correlation between art movements and revolutions, focusing specifically on Russian Constructivism and the Russian Revolution in the 1920s, as well as the Punk movement in East Germany that instigated the Fall of the Berlin Wall. I am fascinated by the structural similarities of these movements, and their shared desire of egalitarianism, which progressed with the support of opposing political ideologies. I chose fashion design because it was at the forefront of both Constructivism and Punk, and because it is what I hope to pursue as a career. After designing a full collection in 2D, I wanted to challenge myself by bringing one of my garments to life. The top is a plaster cast cut in half and shaped with epoxy and a lace up mechanism so that it can be worn. A paste made of plaster and paper pulp serves to attach the pieces of metal and create a rough texture that produces the illusion of a concrete wall. For the skirt, I created 11 spheres of various sizes by layering and stitching together different shades of white, cream, off-white, grey, and beige colored fabrics, with barbed wire and hardware cloth, that I then stuffed with Polyfil. The piece is wearable, and meant to constrict one’s freedom of movement - just like the German Democratic Party constricted freedom of speech in East Germany. The bottom portion is meant to suffocate the body in a different approach, with huge, outlandish, forms like the ones admired by the Constructivists.
    [Show full text]
  • Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933) Kester, Bernadette
    www.ssoar.info Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933) Kester, Bernadette Veröffentlichungsversion / Published Version Monographie / monograph Zur Verfügung gestellt in Kooperation mit / provided in cooperation with: OAPEN (Open Access Publishing in European Networks) Empfohlene Zitierung / Suggested Citation: Kester, B. (2002). Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933). (Film Culture in Transition). Amsterdam: Amsterdam Univ. Press. https://nbn-resolving.org/ urn:nbn:de:0168-ssoar-317059 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer CC BY-NC-ND Lizenz This document is made available under a CC BY-NC-ND Licence (Namensnennung-Nicht-kommerziell-Keine Bearbeitung) zur (Attribution-Non Comercial-NoDerivatives). For more Information Verfügung gestellt. Nähere Auskünfte zu den CC-Lizenzen finden see: Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0 https://creativecommons.org/licenses/by-nc-nd/4.0/deed.de * pb ‘Film Front Weimar’ 30-10-2002 14:10 Pagina 1 The Weimar Republic is widely regarded as a pre- cursor to the Nazi era and as a period in which jazz, achitecture and expressionist films all contributed to FILM FRONT WEIMAR BERNADETTE KESTER a cultural flourishing. The so-called Golden Twenties FFILMILM FILM however was also a decade in which Germany had to deal with the aftermath of the First World War. Film CULTURE CULTURE Front Weimar shows how Germany tried to reconcile IN TRANSITION IN TRANSITION the horrendous experiences of the war through the war films made between 1919 and 1933.
    [Show full text]
  • "The Architecture of the Book": El Lissitzky's Works on Paper, 1919-1937
    "The Architecture of the Book": El Lissitzky's Works on Paper, 1919-1937 The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Johnson, Samuel. 2015. "The Architecture of the Book": El Lissitzky's Works on Paper, 1919-1937. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:17463124 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA “The Architecture of the Book”: El Lissitzky’s Works on Paper, 1919-1937 A dissertation presented by Samuel Johnson to The Department of History of Art and Architecture in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of History of Art and Architecture Harvard University Cambridge, Massachusetts May 2015 © 2015 Samuel Johnson All rights reserved. Dissertation Advisor: Professor Maria Gough Samuel Johnson “The Architecture of the Book”: El Lissitzky’s Works on Paper, 1919-1937 Abstract Although widely respected as an abstract painter, the Russian Jewish artist and architect El Lissitzky produced more works on paper than in any other medium during his twenty year career. Both a highly competent lithographer and a pioneer in the application of modernist principles to letterpress typography, Lissitzky advocated for works of art issued in “thousands of identical originals” even before the avant-garde embraced photography and film.
    [Show full text]
  • Read Book Kazimir Malevich
    KAZIMIR MALEVICH PDF, EPUB, EBOOK Achim Borchardt-Hume | 264 pages | 21 Apr 2015 | TATE PUBLISHING | 9781849761468 | English | London, United Kingdom Kazimir Malevich PDF Book From the beginning of the s, modern art was falling out of favor with the new government of Joseph Stalin. Red Cavalry Riding. Articles from Britannica Encyclopedias for elementary and high school students. The movement did have a handful of supporters amongst the Russian avant garde but it was dwarfed by its sibling constructivism whose manifesto harmonized better with the ideological sentiments of the revolutionary communist government during the early days of Soviet Union. What's more, as the writers and abstract pundits were occupied with what constituted writing, Malevich came to be interested by the quest for workmanship's barest basics. Black Square. Woman Torso. The painting's quality has degraded considerably since it was drawn. Guggenheim —an early and passionate collector of the Russian avant-garde—was inspired by the same aesthetic ideals and spiritual quest that exemplified Malevich's art. Hidden categories: Articles with short description Short description matches Wikidata Use dmy dates from May All articles with unsourced statements Articles with unsourced statements from June Lyubov Popova - You might like Left Right. Harvard doctoral candidate Julia Bekman Chadaga writes: "In his later writings, Malevich defined the 'additional element' as the quality of any new visual environment bringing about a change in perception Retrieved 6 July A white cube decorated with a black square was placed on his tomb. It was one of the most radical improvements in dynamic workmanship. Landscape with a White House.
    [Show full text]
  • Bibliography
    Bibliography Abram, David. The Spell of the Sensuous: Perception and Language in a More-than- Human World. New York: Vintage Books, 1996. Print. Adelt, Leonhard. “Lesabéndio. Ein Asteroiden-Roman.” Rev. of Lesabéndio. Ein Asteroiden-Roman by Paul Scheerbart. Das litterarische Echo. 2 Jan. 1914. 650–52. Über Paul Scheerbart: Ed. Paul Kaltefleiter. Oldenburg 1998. 221–23. Print. Adorno, Theodor and Max Horkheimer. Dialektik der Aufklärung: Philosophische Fragmente. Frankfurt a.M.: Fischer, 2008. Print. Alcock, John. An Enthusiasm for Orchids: Sex and Deception in Plant Evolution. Oxford: Oxford University Press, 2006. Print. Alraune. Dir. Henrik Galeen. Perf. Brigitte Helm and Paul Wegener. Ama-Film, 1928. Film. “Alraune.” Rev. of Alraune. Lichtbild-Bühne. Feb. 1928. Filmportal. Web. 12 Aug. 2013. Andriopoulos, Stefan. “Occult Conspiracies: Spirits and Secret Societies in Schiller’s Ghost Seer.” New German Critique; Ngc. (2008): 65. ArticleFirst. Web. 10 Dec. 2014. Arnheim, Rudolf. “Das Blumenwunder (1926)” from Film als Kunst. Presse über den Film “Das Blumenwunder”. Archiv der Deutschen Kinemathek. Print. The Arabian Nights’ Entertainments. Chicago: Rand McNally and Co., 1914. Project Gutenberg. Web. 24 Apr. 2012. Asendorf, Christoph. Batteries of Life: The History of Things and Their Perception in Modernity. Trans. Don Reneau. Weimar and Now: German Cultural Criticism. Ed. Martin Jay and Anton Kaes. Berkeley: U of California P, 1993. Google Books. Web. 22 Jul. 2012. Bakke, Monika. “Art for Plant’s Sake? Questioning Human Imperialism in the Age of Biotech.” Parallax. 18.4 (2012): 9–25. Balázs, Béla. “Tanzdichtungen” Musikblätter der Anbruch. March 1926: 109–112. Internet Archive. Web. 2 Dec. 2013. Balázs, Béla. Der Sichtbare Mensch oder die Kultur des Films.
    [Show full text]
  • Vkhutemas Training Anna Bokov Vkhutemas Training Pavilion of the Russian Federation at the 14Th International Architecture Exhibition La Biennale Di Venezia
    Pavilion of the Russian Federation at the 14th International Architecture Exhibition la Biennale di Venezia VKhUTEMAS Training Anna Bokov VKhUTEMAS Training Pavilion of the Russian Federation at the 14th International Architecture Exhibition la Biennale di Venezia Curated by Strelka Institute for Media, Architecture and Design Anton Kalgaev Brendan McGetrick Daria Paramonova Comissioner Semyon Mikhailovsky Text and Design Anna Bokov With Special Thanks to Sofia & Andrey Bokov Katerina Clark Jean-Louis Cohen Kurt W. Forster Kenneth Frampton Harvard Graduate School of Design Selim O. Khan-Magomedov Moscow Architectural Institute MARCHI Diploma Studios Moscow Schusev Museum of Architecture Eeva-Liisa Pelknonen Alexander G. Rappaport Strelka Institute for Media, Architecture and Design Larisa I. Veen Yury P. Volchok Yale School of Architecture VKhUTEMAS Training VKhUTEMAS, an acronym for Vysshie Khudozhestvenno Tekhnicheskie Masterskie, translated as Higher Artistic and Technical Studios, was conceived explicitly as “a specialized educational institution for ad- vanced artistic and technical training, created to produce highly quali- fied artist-practitioners for modern industry, as well as instructors and directors of professional and technical education” (Vladimir Lenin, 1920). VKhUTEMAS was a synthetic interdisciplinary school consisting of both art and industrial facilities. The school was comprised of eight art and production departments - Architecture, Painting, Sculpture, Graphics, Textiles, Ceramics, Wood-, and Metalworking. The exchange
    [Show full text]
  • Études Photographiques, 23 | Mai 2009 When a Photograph of Trees Is Almost Like a Crime 2
    Études photographiques 23 | mai 2009 Politique des images / Illustration photographique When a Photograph of Trees Is Almost like a Crime Rodchenko, Vertov, Kalatozov Bernd Stiegler Translator: James Gussen Electronic version URL: http://journals.openedition.org/etudesphotographiques/3422 ISSN: 1777-5302 Publisher Société française de photographie Printed version Date of publication: 1 May 2009 ISBN: 9782911961236 ISSN: 1270-9050 Electronic reference Bernd Stiegler, « When a Photograph of Trees Is Almost like a Crime », Études photographiques [Online], 23 | mai 2009, Online since 12 February 2014, connection on 30 April 2019. URL : http:// journals.openedition.org/etudesphotographiques/3422 This text was automatically generated on 30 April 2019. Propriété intellectuelle When a Photograph of Trees Is Almost like a Crime 1 When a Photograph of Trees Is Almost like a Crime Rodchenko, Vertov, Kalatozov Bernd Stiegler Translation : James Gussen ‘Think before taking the photograph, while taking the photograph, and after taking the photograph!’1 1 In 1927, the Russian artist and photographer Alexander Rodchenko spent several days at Vladiir Mayakovsky’s dacha,2 taking, what were for him, rare trips into the countryside, and then noted in his journal: ‘In Pushkino, at the dacha, I walk around and look at nature: there’s a bush, there’s a tree, here’s a ravine, stinging nettle ... Everything’s accidental and unorganized, there’s nothing to photograph, it’s not interesting. Now the pines aren’t too bad, long, bare, almost telegraph poles.’3 2 To the city dweller Rodchenko, nature seemed to be a disorganized chaos with no artistic appeal, an informal and unstructured accumulation of thicket and undergrowth.
    [Show full text]
  • Der Kinematograph (August 1932)
    Kino vor 20 Jahren U.T. Unter den Linden. Kapellmeister: Richard Seiler. -n. Im Jahre 1922 ii er Buchhalter in dir seldorf eingetretei .otn 27. Juli bis einschließlich 2. August 1912. Musik-Piece Zentrale als Chefbuchhalter be¬ dem Transformator nur entnom¬ 1. De- Hafen von Marseille. rufen. Im Jahre 1926 siedelte men werden, wenn alle Regel¬ £in Städtebild. er mit der Südfilm-Zentrale schlitten von der Hellstellung 2. Matkenscherz. nach München und Anfang 1928 soeben auf die ersten Stufen Drama in zwei Akten. nach Berlin über. gelangt sind, also die Verdunke¬ 3. Die ewig lächelnde Dame. In der Aufsichtsratssitzung lung des Kinos bereits begon¬ Humoristische Szenen. vom 27. September 1928 wurde nen hat. Die Kinopraxis ergibt 4. Union-Woche. ihm Prokura erteilt und in der aber, daß die Regelschlilten Übersicht über die interessantesten aktueller Aufsichtsratssitzung vom 14. No¬ niemals alle gleichzeitig auf der¬ eignisse der Woche. vember 1930 wurde er zum selben Regelstufe stehen, son¬ Direktor-Stellvertreter ernannt. dern je nach dem Stück ein¬ 5. Kirdliche Vaterlandsliebe. Ein patriotisches Gedicht. Calm hat sich in diesen zehn gestellt und während der Spiel¬ Jahren nicht nur innerhalb der dauer zur Lichtveränderung hin- 6. Zigolo und das geheimnisvolle Schloß. Abenteuerliche Komödie. Südfilm eine geachtete und und herbewegt werden. Man wichtige Position erworoen. kann für die Einstellung der Re¬ 7. In Valcamonica. gelschlitten nach erfolgtem Be¬ Bilder aus Oberitalien. ginn der Verdunkelung die Er¬ 8. Moritz als Modernist. tung, Freundschaft und Wer fahrungen zugrunde legen, die Posse. Schätzung gefunden «ich in der Praxis bei Verwen¬ dung von Widerständen ergeben haben. Nicht nur für neue der Anschaffung nicht billiger struktion wurden störende Ge¬ Lichtspieltheater sind die Re¬ als bisherige Widerstände stel¬ räusche in den erwähnten italie¬ Südfilm ihm im Laufe der zehn geltransformatoren bedeutungs¬ len.
    [Show full text]
  • Aleksandr Rodchenko. Model Workers' Club, Soviet Pavilion at The
    Downloaded from http://direct.mit.edu/octo/article-pdf/doi/10.1162/OCTO_a_00147/1754067/octo_a_00147.pdf by guest on 26 September 2021 Aleksandr Rodchenko. Model Workers’ Club, Soviet pavilion at the Exposition Internationale des Arts Décoratifs et Industriels in Paris. 1925. © Estate of Alexander Rodchenko/RAO, Moscow/VAGA, New York. Labor Demonstrations: Aleksei Gan’s Island of the Young Pioneers , Dziga Vertov’s Kino-Eye , and the Rationalization of Artistic Labor* Downloaded from http://direct.mit.edu/octo/article-pdf/doi/10.1162/OCTO_a_00147/1754067/octo_a_00147.pdf by guest on 26 September 2021 KRISTIN ROMBERG Of Russian Constructivism’s manifold demonstration pieces, the model workers’ club that Aleksandr Rodchenko exhibited in Paris in 1925 is one of the best. Its economy of materials and transparent structural logic exemplify Constructivism’s rationalist bid for a socialist aesthetics, while its function as a club models the ideal of enlightened recreation as the partner to unalienated labor. 1 Visible in the well-known photograph of the club are posters for the two films that are the subject of this essay. Both were conceived as demonstration pieces in their own right. The poster in the center, also designed by Rodchenko, is for Dziga Vertov’s first feature-length film, Kino-Eye . The one to the right, with the pared-down typographic layout, advertises Aleksei Gan’s Island of the Young Pioneers .2 Both films were made in 1924 and featured the Young Pioneers, the Soviet youth organization for children ages ten to fifteen founded in 1922 on the model of the Boy Scouts. Both were produced as examples of a new approach to filmmaking called “the demonstration of everyday life.” But while Kino-Eye has gone on to be celebrated as the closest thing to Constructivism in cinema, 3 Island has only been mentioned in passing, and even then as a complete disaster.
    [Show full text]
  • Der Kinematograph (August 1931)
    DAS AITESIE IILM FACH BUTT lii VERLAG SCHERL* BERLIN SW68 5. Jahrgang Berlin, den 1. August 1931 Nummer 175 Heros Huyras Ein offener Brief Wir haben vorgestern, ob man Vorauszchlungen 'chon damit man uns nicht durch umfangreiche Neu¬ orwirft, daß wir es an der engagements 'itigen Objektivität fehlen retten will. äßen, die oifiziöse Nachricht Drittens: Interessant er die Übernahme des erosfilm-Verleih in Leipzig zu welchem Prozentsatz durch den zweiten Vorsitzen¬ cie einzelnen Leihverträge den des Reichsverbandes durchschnittlich! getätigt wer¬ Deutscher Lichtspieltheater. den. insbesondere, ob Herrn Huyras, in der Form gebracht, wie sie unser Leip¬ unter fünfunddreißig ziger Korrespondent dem Prozent „Kinemalograph“ übermit¬ vermietet wird und ob in telte. diesem billigen Leihpreis das Wir gehen sicher nicht so sehnsüchtig herbeige¬ fehl, wenn wir annehmen, wünschte Beiprogramm nun daß diese Mitteilungen sozu¬ in so vorbildlichem Maß sagen offiziös ge wesen sind, eingeschlossen so daß wir uns zweifellos er¬ ist, daß hier einmal ein lauben dürfen, im Anschluß Theaterbesitzerverleih vor¬ an diese Bekanntmachangen bildlich wirken könnte. ein paar ganz konkrete Fragen Unsere Neugierde erstreckt an die Heros oder Herrn sich dann viertens wei¬ Huyras zu richten, deren Be¬ ter auf die Tatsache, oh die antwortung zweifellos zur Zusammenarbeit mit der Ge¬ Klärung der Situation ganz nossenschaft der mitteldeut¬ ■ heblich beitragen wird. schen Lichlspieitheaterbesit- * zer außerdem in Theaterbesitzern gemacht Wir fragen das nicht, weil einer zwangsweisen Ver¬ Erstens: Die Firma worden sind? uns diese Abmachungen von pflichtung Huyras — um eine Wendung Zweitens: Erfolgt diese seiten der Heros nicht ge¬ >m offiziösen Kommunique zur Abnahme aller Heros¬ Erfüllung der bereits bezahl¬ fallen, sondern wir wünschen zu übernehmen — über- filme besteht.
    [Show full text]
  • Dziga Vertov, the First Shoemaker of Russian Cinema1
    Dziga Vertov, The First Shoemaker of Russian Cinema1 Devin Fore Princeton University Abstract We are told that the mechanization of production has dire effects on the functionality of language as well as human capacities for symbolic communication in general. This expropriation of language by the machine results in the deterioration of the traditional political public sphere, which once privileged language as the exclusive medium of intersubjectivity and agency. The essay argues that the work of the Soviet media artist Dziga Vertov, especially his 1931 “film-thing” En- thusiasm, sought to redress the antagonism between technology and politics faced by modern industrial societies. Vertov’s public sphere was one that did not privilege language and abstract discourse, but that incorporated all manner of material objects as means of commu- nication. As Vertov instructed, the public sphere must move beyond its linguistic bias to embrace industrial commodities as communica- tive social media. 1. This article is excerpted from a longer paper that examines Dziga Vertov’s work with television, but that cannot appear here in its entirety because of exigencies of space. Postponing the discussion of early television’s position within the Soviet media land- scape for a later context, the present article limits itself to the exposition of two argu- ments: the first section addresses the fate of political discourse within modern regimes of industrial production; then, through an analysis of one passage from Vertov’s film Enthusiasm (1931), the second section considers Vertov’s strategies for forging new modes of political agency within the sphere of technical production. Configurations, 2010, 18:363–382 © 2011 by The Johns Hopkins University Press and the Society for Literature and Science.
    [Show full text]