Thank you to everyone who attended the inaugural screening for the Music and Film class. I introduced Dziga Vertov with a few notes about his ideological background. He went through the Russian revolution and was a true-believer Marxist. He and his cohort, kin-ok (a neologism. Think: Kin=>Cin=>Cinema | Ok=>Oc=>Eye), believed that cinema could be a method for deciphering the world. Thus cinema was fact. Vertov, like many strong-willed artists of his generation, wrote a manifesto for his aesthetic philosophy. In it, he makes a strong-worded critic of narrative cinema, calling it a “cliché. A copy of a copy.”
For Man With a Moving Camera, Vertov composed specific instructions for musicians to play with the film, including sounds such as sirens (as heard in the version we watched).
As a reminder, I asked everyone to consider how Vertov’s instructions for the film would fit into the standards of silent film music. Given what you will soon read in the text book, how do you comprehend an experimental film such as this?
For the NewDLE link to Cinematic Orchestra version, click here. There are others.