Man with a Movie Camera: The Global Remake (2009)

Genre : Documentary

Runtime : 1H 7M

Director : Perry Bard
Writer : Perry Bard

Synopsis

Man With a Movie Camera: The Global Remake is a participatory video shot by people around the world who are invited to record images interpreting the original script of Vertov’s Man With A Movie Camera and upload them to this site. Software developed specifically for this project archives, sequences and streams the submissions as a film. Anyone can upload footage. When the work streams your contribution becomes part of a worldwide montage, in Vertov’s terms the “decoding of life as it is”.

Actors

Crews

Perry Bard
Perry Bard
Director
Perry Bard
Perry Bard
Producer
Steven Baun
Steven Baun
Music
Perry Bard
Perry Bard
Screenplay
Dziga Vertov
Dziga Vertov
Characters

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Госкинокалендарь
Traditional-style newsreel series (1923-1925)
Kino-week
The Kino-nedelya newsreels constitute the first films of Dziga Vertov. A total of 43 issues, each containing an average of 5 to 7 different items, were produced between May 1918 and June 1919. In the fall of 1918, Vertov joined the newsreel’s ranks and soon took on full responsibility for the series, defining the content and structure of each issue. The films provide an invaluable record of life in the young Soviet Russia, then in the throes of civil war.
Облака
Kino-Pravda No. 10
Dziga Vertov-directed Soviet newsreel covering: International Youth Day and demonstrations / All-Russian Olympiad / Streetcar collision / Construction of automobiles in a Petrograd factory.
Kino-Pravda No. 14
Dziga Vertov-directed Soviet newsreel covering: IV. Congress of the Comintern / Congress of the Profintern.
Kino-pravda no. 22: Lenin is Alive in the Heart of the Peasant. A Film Story
Dziga Vertov-directed Soviet newsreel covering: First anniversary of Lenin's death / Smycka of the city and the village: group of peasants visit Moscow / Lenin's effect on peasants and oppressed nations
Bezhin Meadow: Sequences from an Unfinished Film
Bezhin Lug (Bezhin Meadow) was to be a Soviet film about a young farm boy whose father attempts to betray the government for political reasons by sabotaging the year's harvest, and the son's efforts to stop his own father to protect the Soviet state, culminating in the boy's murder and a social uprising. Assigned to Soviet film-maker Sergei Eisenstein, the filming followed the same path as with his previous effort, "Que Viva Mexico", into cost overrun and over-shooting of footage. Furthermore, Eisenstein's usage of forbidden experimental film techniques outraged his government superiors, who ordered the film destroyed before it was even completed. All that survives are the first and last frames of each shot, preserved by Sergei Eisenstein’s wife, Pera Atasheva. The 1967 reconstruction, by Naum Kleiman of the Eisenstein Museum and Sergei Yutkevich of Gosfilmofond, places these frames in order, approximating the original film.
Kino-pravda no. 20
Dziga Vertov-directed Soviet newsreel covering: Reports of the Pioneers: Excursion to the country, to the zoo etc.
Kino-Pravda No. 5
Dziga Vertov-directed Soviet newsreel covering: Peasant People's Commissar for Agricultural Affairs, Vasilij Jakovenko / Health resort Soči / Sanatorium for children / Harness racing - The first Red Derby.
Kino-Pravda No. 9
Dziga Vertov-directed Soviet newsreel covering: Congress of the "Living Church" / Opening of the horse racing season / Demonstration of an American movie camera / Operation of mobile projection units.
Золочёные лбы
Three Heroines
Follows the legendary female pilots Raskova, Osipenko, and Grisodubova in their failed but magnificent attempt to make the first nonstop trans-Siberian flight. Using documentary reenactments, Vertov depicts the flight, the crash, the rescue, and the women’s heroic return to Moscow, where crowds shower them with flowers, and leaders with speeches.
Kino-Pravda No. 8
Dziga Vertov-directed Soviet newsreel covering: A bet is placed on the outcome of the Trial of the Socialist Revolutionaries / The verdict / People in streetcars and on the street / A crashed aircraft / Reconstruction of streetcar line 13 / Peacetime use of tanks – airport construction work.
Bogdan Khmelnitskiy
Year 1648. Ukraine under the oppression of Poland. Polish nobility committing outrage, burning villages one after another. Hetman of Zaporozhian Cossacks Bogdan Khmelnitsky gathers the army of defenders of the motherland...
Даешь воздух!
Dziga Vertov documentary on flying.
The Brain of Soviet Russia
This film shows us leaders of organizations that emerged after the Russian Revolution.
Lullaby
A 1937 Soviet documentary film directed by Dziga Vertov. The film was shot to commemorate the 20th anniversary of the October Revolution. It focuses on the women and the role of motherhood, featuring images from across the Soviet Union, in particular the Far East.
For You at the Front!
From the start, Vertov made himself known as an irreconcilable enemy of “acted films,” which he regarded as a violation of truth. At the peak of World War II, however, such lofty artistic principles proved impractical. Vertov’s poetic and patriotic For You, Front! is a fiction film with a script and two actors. In a letter to her fiancé, a soldier on the front, Saule asks if there is anything he needs from “our beloved Kazakhstan.” Yes there is, he replies: lead, which can be used to make bullets to kill the enemies of “our beloved country.”
In Memory of Sergo Ordzhonikidze
The film is about the life and work of Grigory Ordzhonikidze Konstantinoviche, an important personality in both the Communist Party and the Soviet state. The film includes speeches by his bereaved friends who attended his funeral. In 1937, after the unexpected death of Sergo Ordzhonikidze, Vertov received an urgent order from the government to produce a film about the life of Ordzhonikidze. He was ordered to work together with Yakov Bliohom and the director of the film "Battleship Potemkin" distributed by Goskino (Soviet State Committee for Cinematography).
Kino-Pravda no. 23
Dziga Vertov-directed Soviet newsreel covering: A peasant buys a receiver at the radio shop / Instructions to attach an antenna / A broadcast-station is developed / A concert is broadcast. Though only a third of this final issue of Kino-Pravda seems to survive, there still exists Aleksandr Bushkin’s time-lapse animation and the sequence in which, as Yuri Tsivian describes, “a cross-section of a photographically correct izba (Russian peasant’s log hut) is penetrated by schematically charted radio waves”—a testament to the magical properties and propagandistic uses of radio in reaching out to Russia’s distant peasantry.