Kino-Pravda - Factbites

Kino-Pravda - Factbites
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Topic: Kino-Pravda

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	Dziga Vertov - Wikipedia, the free encyclopedia
		In 1922, the year that Nanook of the North was released, Vertov started the Kino-Pravda series.
		The series took its title from the government newspaper Pravda, founded by Vladimir Ilyich Lenin in 1912.
	en.wikipedia.org /wiki/Dziga_Vertov (1282 words)

	Kino-Pravda
		The term kino pravda, though it translates as "film truth", is not to be confused with the cinéma vérité movement in documentary film, which also translates as "film truth".
		Cinéma vérité was similarly marked by the intention of capturing reality "warts and all", but became popular in France in the 1960s.
		Vertov clearly intended an active relationship with his audience in the series--in the final segment he includes contact information — but by the fourteenthth episode the series had become so experimental that some critics dismissed Vertov's efforts as "insane".
	www.worldhistory.com /wiki/K/Kino-Pravda.htm (426 words)

	Dziga Vertov
		He even called the 23 newreels he directed between 1922 and 1925 Kino-Pravda, 'pravda' being not only the Russian word for the truth but also the title of the official party newspaper.
		Yet so much, in hindsight, sounds more like a classic realist position than that of the formalist experiments Vertov claimed for his group, Kino-Pravda and its doctrine of Kino Eye—the term he invented to cover both the ideology of his short lived group and the filmmakers in it.
		For a little more than ten years he was, along with Sergei Eisenstein, the leading theoretician of the new art of cinema itself and by the end of that ten years his career and his outpouring of cinema ideas were effectively over.
	www.sensesofcinema.com /contents/directors/03/vertov.html (2010 words)

	pravda - Search Results
		Read about pravda in the free online encyclopedia and dictionary.
		Find pravda at one of the best sites the Internet has to offer!
		Need more information on pravda, sit back and let us find it!
	quick-search.us /pravda.html (325 words)

	Hacking A One Use Video Camera : Everything Video
		The episodes of "Kino-Pravda" usually did not include reenactments or stagings (one exception is the segment about the trial of the Social Revolutionaries: the scenes of the selling of the newspapers on the streets and the people reading the papers in the trolley were both staged for the camera).
		In the "Kino-Pravda" series, Vertov focused on everyday experiences, eschewing bourgeois concerns and filming marketplaces, bars, and schools instead, sometimes with a hidden camera, without asking permission first.
		The cinematography is simple, functional, unelaborate--perhaps a result of Vertov's disinterest in both "beauty" and "art." Twenty-three issues of the series were produced over a period...
	www.3dpro2mp.com /274-Hacking-A-One-Use-Video-Camera.html (1528 words)

	Hacking A One Use Video Camera : Everything Video
		The episodes of "Kino-Pravda" usually did not include reenactments or stagings (one exception is the segment about the trial of the Social Revolutionaries: the scenes of the selling of the newspapers on the streets and the people reading the papers in the trolley were both staged for the camera).
		In the "Kino-Pravda" series, Vertov focused on everyday experiences, eschewing bourgeois concerns and filming marketplaces, bars, and schools instead, sometimes with a hidden camera, without asking permission first.
		The cinematography is simple, functional, unelaborate--perhaps a result of Vertov's disinterest in both "beauty" and "art." Twenty-three issues of the series were produced over a period...
	www.3dpro2mp.com /274-Hacking-A-One-Use-Video-Camera.html (1542 words)

	russ747.doc
		Documentary I: Screening (January 31) of Dziga Vertov, Kino-Eye (1924) and Kino-Pravda (1925); Fall of the Romanov Dynasty (Esfir Shub, 1927); Seminar (February 4): Vertov, Kino-Eye, pp.
		Sound and Propaganda: Screening (March 28) Vertov, Enthusiasm: Symphony of the Donbas (1931) and Three Songs of Lenin (1934); Deserter (Pudovkin, 1933); Seminar (April i) Eisenstein, Pudovkin, Alexandrov, "Statement on sound"; "Conversation with Eisenstein on Sound Cinema"; Pudovkin, pp.
		Documentary IV: Screening (April 18) of Chronicle of a Summer (Rouch/Morin, 1961), and Jean-Luc Godard's British Sounds (1970) and Iciet Ailleurs (1976); Seminar (April 22) Vertov, pp.
	www.yale.edu /slavic/syllabi/russ747.doc (890 words)

	Kino-Eye/Three Songs of Lenin (1924)
		The talents of legendary Russian filmmaker/documentarian Vertov — best known for his Kino-Pravda newsreels &; are showcased here in Kino-Eye, a political/social documentary, and Three Songs of Lenin, a close look at the revolutionary leader.
		Experimental, innovative silent documentary imitates view of human eye.
	www.reel.com /movie.asp?MID=129854 (54 words)

	DVD Empire - Item - Kino-Eye / Three Songs About Lenin / DVD-Video
		Dziga Vertov, whose renegade approach to cinema is best remembered in the legendary Man with the Movie Camera and his series of Kino-Pravda newsreels, demonstrates his mastery of montage in this 1924 feature previously unseen in the United States.
		The final reel of Kino-Eye no longer exists but has been approximated through the use of carefully selected outtake footage.
		These scenes of teen philanthropy are interwoven with playful cinematic experiments as when Vertov charts the evolution of hamburger and bread by following its trail back to the farms and wheat fields from whence it came and a ballet of high-diving that is eerily similar to the famous sequence in Leni Riefenstahl's Olympia.
	www.dvdempire.com /Exec/v4_item.asp?item_id=11925&partner_id=29346865 (421 words)

	Man With A Movie Camera
		Vertov cut his teeth editing a film magazine (Kino Pravda - Film Truth) that advanced Soviet film-making along Leninist-Constructivist lines; he even changed his name to reflect the sound of a camera crank (Dziga) plus the verb to turn (Vertov).
		The photography itself, effects, editing and people's reactions to being filmed become part of a whole that is sometimes dizzying in its motion and inventiveness.
		This film makes some political points (the "splitting" of the pre-revolutionary and therefore "bourgeois" Bolshoi Theatre), but lightness of touch means that the film is still watchable as fascinating documentary rather than heavy-handed propaganda.
	www.thecontext.com /docs/1026.html (112 words)

	DVD Times - Man With a Movie Camera
		Prior to Man With a Movie Camera Vertov had produced 23 “issues” of these newsreels under the title Kino-Pravda (literal translation: “Cinema-Truth”) and a number of equally political features, yet it is with the 1929 work - memorably described by critic Amy Taubin as “silent cinema’s last stand” - that his reputation lies.
		As both Man With a Movie Camera’s title and attendant “excerpt from the diary of a cameraman” subtitle would suggest, Vertov is first and foremost concerned with the filmmaking process.
		This release of Man With a Movie Camera (the first of three to be released in the UK to date) has been sourced from a 1996 restoration by David Shephard - the man responsible for numerous silent prints currently available on R2 DVD.
	www.dvdtimes.co.uk /content.php?contentid=55637 (1502 words)

	ThB aka coordinaTore aka A22 aka Tore Honoré Bøe aka BOE aka 2re
		This is a full return to the signature that has a 20 year anniversary this year - the first trace of use found on a Kino Pravda rehearsal set-list from 1985.
		After completing the FIVE YEAR PLAN and the 13051826 projects, i will only appear as "agent" ThB A22 of various origami republika subunits as coordinator, artist and archivist.
		ThB aka coordinaTore aka A22 aka Tore Honoré Bøe aka BOE aka 2re
	kunst.no /alias/origami/tore (1502 words)

	Film history/Russia - Wikipedia
		Dziga Vertov's newsreel series Kino-Pravda lasted from 1922 to 1925 and had a propagandistic bent; Vertov used the series to promote "Socialist realism" but also to experiment with cinema.
		While Russia was involved in filmmaking as early as most of the other nations in the West, it only came into prominence during the 1920s when it explored editing as the primary mode of cinematic expression.
		Initially, it was believed that film would be the ideal artform for communist Russia because of its populist potential and facility in propaganda; Lenin, in fact, declared it the most important medium.
	nostalgia.wikipedia.org /wiki/Film_history/Russia (1502 words)

	New Statesman - Arts - Verity schmerity
		The quest for cinema truth has existed since the early days of Russian Kino-Pravda ; but the idea flourished in the Sixties, mainly because of the advent of light- weight cameras and sound recorders, and fast film requiring minimal lighting.
		Modern digital cameras mean that cinema truth and its offshoot, reality television, are, in practical terms at least, more tenable than ever.
		These days, the only truth in cinema is the programme time on your ticket.
	www.newstatesman.com /Arts/200205060037 (1502 words)

	CM Magazine: Cinema Verite.
		These filmmakers rebelled against the dull and preachy documentaries of the 1950s and subsequently forged a new genre known alternatively as “free cinema” (Great Britain), “candid eye” (Canada), “direct cinema” (United States), “kino pravda&; (Russia), and “cinéma vérité” (France)-- the latter term quickly having gained predominance in the English-speaking world.
		Liberally interspersed throughout the contemporary footage of the Cox/Miquet/Wintonick crew are archival NFB film clips, as well as excerpts of classics by these cinéma vérité filmmakers that reflect the drastic changes overtaking documentary midway through the twentieth century.
		An investigation into the origins of a particular kind of filmmaking leads researcher and interviewer Kirwan Cox, digital video specialist Francis Miquet, and soundman, narrator, and director Peter Wintonick to interview a core group of radical filmmakers in Cinéma Vérité: Defining the Moment, a National Film Board of Canada (NFB) release.
	www.umanitoba.ca /outreach/cm/vol9/no9/cinema.html (796 words)

	TAKE ONE: Camera eye: Peter Wintonick's Cinema verite: defining the moment
		Inspired by 1920s Russian avant-gardist Dziga Vertov's kino pravda (cinema truth), and still photographers like Henri Cartier-Bresson (who hunted big game before he decided to track human beings), they shot fast and loose with excitingly new, lightweight cameras and portable sound equipment.
		In Cinema Verite: Defining the Moment, Wintonick's new feature-length picture about what is probably the most vital and influential of doc genres, he slyly alludes to the kind of numbing films uninitiated viewers think of when they hear the "d" word.
		One of Cinema Verite's running gags involves an ancient NFB instructional short in which a pair of sombre twits explain how to climb a ladder with such pedantry, they could be demonstrating the correct way to handle plutonium.
	www.findarticles.com /p/articles/mi_m0JSF/is_26/ai_30086852 (1378 words)

	Cinema vérité
		The term comes from the literal translation of Dziga Vertov's Kino-Pravda series and the intentions behind it: to use film as a means of getting at "hidden" truth.
		Cinema verite is not to be confused with Vertov's work, however; the term is used to refer to the style developed in France by the directors of the nouvelle vague and others.
		Cinema vérité is a French phrase meaning, literally "film truth".
	portaljuice.com /cinema_verite.html (153 words)

	TAKE ONE: Camera eye: Peter Wintonick's Cinema verite: defining the moment
		Inspired by 1920s Russian avant-gardist Dziga Vertov's kino pravda (cinema truth), and still photographers like Henri Cartier-Bresson (who hunted big game before he decided to track human beings), they shot fast and loose with excitingly new, lightweight cameras and portable sound equipment.
		In Cinema Verite: Defining the Moment, Wintonick's new feature-length picture about what is probably the most vital and influential of doc genres, he slyly alludes to the kind of numbing films uninitiated viewers think of when they hear the "d" word.
		One of Cinema Verite's running gags involves an ancient NFB instructional short in which a pair of sombre twits explain how to climb a ladder with such pedantry, they could be demonstrating the correct way to handle plutonium.
	www.findarticles.com /p/articles/mi_m0JSF/is_26/ai_30086852 (1394 words)

	Dziga Vertov - Wikipedia, the free encyclopedia
		Kaufman adopted the name "Dziga Vertov", which means "spinning top"; Vertov's political writings and his work on the Kino-Pravda newsreel series show a revolutionary bent.
		Vertov's driving vision, expounded in his frequent essays, was to capture "film truth"—that is, fragments of actuality which, when organized together, have a deeper truth that cannot be seen with the naked eye.
		Vertov's independent, explorative air in filmmaking is carried on as a strong inspiration in aspiring filmmakers and directors.
	en.wikipedia.org /wiki/Dziga_Vertov (1369 words)

	Amazon.co.uk: Man With A Movie Camera [1929]: DVD
		The film was the brainchild of the Moscow-based film-maker Dziga Vertov (real name Denis Arkadyevich Kaufman), a furiously inventive poet of the cinema who made innumerable shorts about daily life (such as the much-quoted "Kino-Pravda"), and played at candid camerawork and cinema vérité long before they became the clichés of the television age.
		Most notable score is by In The Nursery who manage to produce a musical blendof the symphonic with the modern, the ambient with the danceable and the acoustic with the synthetic.
		Watching Vertov's masterpiece with In The Nursery's specially commissioned score makes each and every viewing a new voyage of discovery.
	www.amazon.co.uk /exec/obidos/ASIN/B00004TXII (753 words)

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