Serghei Mihailovici Eisenstein (n. 23 ianuarie 1898 d.

11 februarie 1948) a fost un

cineast rus care a revoluionat cinematograful la nceputul secolului al XX-lea prin teorii de montaj. 1920 ntemeiaz mpreun cu Meyerhold teatrul Proletcultului unde devine scenograf i regizor de teatru. n spectacole mprumut elemente din circ i din music-hall i introduce elemente cinematografice. Odat ajuns la aceast forma de teatru agitaie-atracie, Eisenstein condamn celelalte forme de arte i mostenirea cultural artistic, considerndu-le de nivel meteugresc. n 1923 public n revista Lef teoria montajului atraciilor. Dup Orice na i are naul, pies dup Ostrovski i nc dou piese, Eisenstein prsete teatrul i se ocup de cinematograf. Este influenat de David Griffith, dar ajunge n lumea filmului datorit lui Lupu Pick. De la Griffith preia lupta dintre bine i ru, trecut-prezent, adevr-greeal. Pe Eisenstein l atrage n primul rnd ideea de montaj. El studiaz experimentele lui Vertov i Kulesov. Primul lung metraj: Greva (1924) se aseaman cu Pravda al lui Vertov. Eisenstein introduce n film teoria montajului de atracie. Important e s combini reaciile emotive ale publicului, nu s nfiezi faptele. Astfel nu e nevoie neaparat de subiect sau de logic n film. Filmul Greva are urmtoarele principii: eliminarea figurilor individuale, a eroilor; eliminarea nlnuirilor particulare de evenimente (tram - naraiune). Eisenstein este de acord cu ideologia colectivist.Dup filmul Cruciatorul Potemkin socotit de el o victorie a montajului atraciilor, Eisenstein elaboreaz teoria cinematografului intelectual, cu subiect. n afar de emoii dorete s introduc i concepte politice, filosofice i tiinifice. Filmul trebuie s anuleze dualismul sferelor sentimentului i raiunii. Eisenstein a avut o mare dorin de a regiza Capitalul lui Marx. Dup prerea lui, regizorul trebuie s aib o vast pregtire cultural. De aceea studiile sale tind ctre o enciclopedie. Se ntlnete cu toate personalitile epocii i studiaz din toate domeniile. Concepia filosofic a lui Eisenstein pleac de la Hegel: reflectarea lucrurilor n contiin d natere unor sisteme dialectice de gndire. Tot astfel reflectarea d natere artei. n Despre forma scenariului, Eisenstein susine c montajul e elementul de baz al cinematografului. Senzaia micrii, a succesiunii cinematografice sunt produse de conflictul dintre prima imagine i cea succesiv. El mparte montajul n montaj metric, ritmic i sonor. Eisenstein caut n montaj mijloace capabile s trezeasc n spectator emoia prin intermediul gndirii, al raionamentului. El inoculeaz imaginilor idei abstracte i le trasnform n concret. Eisenstein este de acord cu Pudovkin i cu ceilali teoreticieni declarnd rzboi actorilor profesioniti. Ideea tipizrii i a montajului s-au nscut din teatru, spune Eisenstein. Teoria tipului e tendina timpului nostru. Subiectul filmului nu d forma materialului cinematografic, el reprezint un stadiu,

tranziia de la alegerea unei teme, la realizarea ei. De aici pornete ideea c filmul nu necesit un scenariu. El apr nuvela cinematografic: o ciorn de subiect de 2-3 pagini. Montajul devine astfel a posteriori. Numai la masa de montaj se concretizeaz tema, subiectul, personajele. Eisenstein prin gndirea sa se apropie mai mult de un cinematograf cu caracter documentar, fr actori profesioniti i care poate fi realizat n afara platourilor. n timp ce Vertov i Kulesov se ocupau de problemele formale, Eisenstein pune n prim plan problemele ideologice. n filme el abordeaz cam aceleai teme, mai puin n Octombrie. La apariia cinematografului sonor, Eisenstein pleac cu Alexandrov i cu operatorul su, Tisse n Germania i Frana s-l studieze i realizeaz Romance sentimentale (1930). Eisenstein sprijin cinematograful sonor pentru c ofer noi posibiliti de contraste i conflicte. Dialogul constituie un adevrat material cinematografic, mai ales monologul interior, care surprinde nsi frmntarea gndirii personajelor. n cltoria neizbutit n America, Eisenstein propune ecranul ptrat pentru a rezolva conflictul verticalitii cu orizontalitatea. La un moment dat el propunea un ecran extensibil. Eseuri originale de-ale lui Eisenstein apar n The Film Sense la New York i n Film Form. Aici amintete de importana culorii, care exprim emoii i d exemple de picturi celebre. El vede noi posibiliti de expresie. Alungat din California, pleac n 1931 n Mexic i regizeaz Que viva Mexico. Filmeaz 60.000 de metri de neagativ. Productorul Sol Lesser cumpr materialul i-l compune ntr-un film pe care Eisenstein nu-l recunoate. ntors n Rusia ncepe s lucreze la Lunca Beijinului, dar nu-l termin deoarece este criticat pentru avntul destructiv din film. Filmele lui Eisenstein, att de atente s vad n colectivitate i n mas adevratul erou al propriei sale ri, sunt exemple de refuz al cultului personalitii. "Arta filmului", Aristarco Guido

Lupu Pick (2 January 1886 7 March 1931) was a Romanian-born German actor, film director,
producer and screenwriter of the silent era. He appeared in 50 films between 1910 and 1928. Born in Romania, Pick's father was a Jewish Austrian,[1] his mother, of Romanian origin. He began as a stage actor in Hamburg, Flensburg and Berlin before 1910. In 1917 he founded the film company RexFilm AG. He served on the board of the Film Association of Industrialists (Vorstand des Verbandes der Filmindustriellen), SPIO and the Film Directors Association of Germany (Verbandes der Filmregisseure Deutschlands) and worked intensively to establish the union-based umbrella organization of Filmmakers in Germany (Filmschaffenden Deutschlands) (Dacho). He was the organization's first chairman. Pick was married to actress Edith Posca.

David Wark Griffith (n. 22 ianuarie 1875, Crestwood , Kentucky - d. 23 iulie 1948, Hollywood,
California) este unul dintre cei mai importani regizori din istoria cinematografiei i cel care a transformat primul film n art. David Wark Griffith s-a nscut ntr-o familie care fusese aproape ruinat dup nfrngerea suditilor n Rzboiul de Secesiune. El a inventat blockbuster-ul n epoca filmelor mute i a introdus tehnici noi n arta cinematografic a vremii, echivalente n domeniu cu descoperirea roii: flashbackul, prim-planul, crosscuting-ul (care se ntmpl atunci cnd personajele vorbesc la telefon i ecranul se mparte n dou). Pe durata a 20 de ani a realizat n jur de 500 de filme - pelicule care nu depeau dimensiunea unei bobine - din care azi mai conteaz dou: "Naterea unei naiuni" (1915) i "Intoleran" (1916).

Vsevolod Emilevici Meyerhold (nscut Karl Kazimir Theodor Meyerhold) (1874 - 1940) a
fost un actor, teoretician, regizor i director de teatru din Rusia. Meyerhold s-a nscut n Penza pe 28 ianuarie (stil vechi)/9 februarie (stil nou) 1874 n familia rusogeman a fabricantului de vinuri Emil Meyerhold. n 1895 a nceput s studieze tiinele juridice la Universitatea din Moscova, dar nu a reuit s termine facultatea de drept niciodat. De ziua de natere, cnd a mplinit 21 de ani, Meyerhold s-a convertit la ortodoxie i a primit numele ortodox "Vsevolod". Ucenicia n arta dramatic i-a nceput-o la coala Filarmonic Dramatic din Moscova, avndu-l ca profesor pe Vladimir Nemirovici-Dancenko, cofondator al Teatrului de Art din MoscovaMoscow Art Theatre]], teatrul n care mai trziu Meyerhold a jucat ca actor. Dup ce a prsit Teatrul de Art din Moscova n 1902, Meyerhold s-a implicat n mai multe proiecte teatrale, att ca director, productor, ct i ca actor. Numeroasele proiecte la care a participat au servit ca teren de experimentare i de creaie pentru noi metode de punere n scen. Meyerhold a fost unul dintre cei mai ferveni aprtori ai simbolismului n teatru, n special n perioada n care a lucrat ca productor-ef al Teatrului Dramatic Vera Kommisarjevskaia, (1906 1907). Meyerhold a continuat cutrile pentru inovaii teatrale ntre anii 1907 1917, cnd a lucrat la Teatrul Imperial din Sankt Peterburg, unde s-au jucat piese clasice n prezentri moderne, inovatoare i unde sau pus n scen opere ale unor autori contemporani controversai precum Fiodor Sologub, Zinaida Gippius i Alexandr Blok. n aceste piese el a ncercat s readuc jocul actoricesc la tradiiile Commediei dell'Arte, regndite pentru realitatea teatral contemporan. Conceptele sale teoretice despre teatrul condiional au fost prezentante n cartea sa Despre teatru din 1913. Revoluia rus din 1917 l-a transformat pe Meyerhold ntr-unul dintre cei mai entuziati activiti ai noului teatru sovietic. Meyerhold a intrat n rndurile Partidului Bolevic, a cptat posturi de conducere n consiliul teatral al guvernului sovietic, pentru ca mai apoi s-i deschid propriul teatru, care-i poart numele pn n zilele noastre. Meyerhold a nfruntat cu violen principiile formalismului teatral, pretinznd c acestea nu ar fi capabile s gseasc tangene cu noile realiti. Metodele de constructivism scenic ale lui Meyerhold au fost folosite n cele mai pline de succes piese ale timpului: Mistery-Bouffe de Vladimir Maiakovski, Le Cocu Magnifique de Fernand Crommelinck i Moartea lui Tarelkin' de Alexandr Suhovo-Kobilin. Maiakovski a colaborat cu Meyerhold n mai multe rnduri i se

spune c Maiakovski ar fi scris n mod special pentru Meyerhold piesa de teatru Plonia. Meyerhold a continuat s pun n scen piesele lui Maiakovski chiar i dup sinuciderea acestuia. Actorii care erau distribuii n piesele regizate de Meyerhold jucau conform principiilor biomecanice, un sistem de pregire a actorilor care a fost mai trziu predat ntr-o coal special de actorie fondat de artist. Meyerhold a inspirat artitii i regizorii de film revoluionari, aa cum a fost Serghei Eizentein, n ale crui filme au jucat actori care lucrau n tradiia meyerholdian. Metoda sa actoriceasc era diametral opus metodei lui Constantin Stanislavski. Un exemplu al stilului su actoricesc poate fi vzut n filmele lui Eizentein, n care a distribuit actori innd seama de nfiare. n filmul Lovete!, n care sunt nfiate nceputurile revoluiei bolevice, burghezii exploatatori sunt ntotdeauna reprezentai de obezi care beau, mnnc i fumeaz, iar muncitorii sunt atletici i bine proporionai. Meyerhold s-a opus cu hotrre realismului socialist. La nceputul deceniului al patrulea, cnd Stalin a luat poziie mpotriva artei de avangard i a experimentalismului, munca lui Meyerhold a fost proclamat antagonist i nstrinat de poporul sovietic. Teatrul pe care l-a nfiinat i condus a fost nchis n 1938, iar Meyerhold a fost arestat i nchis un an mai trziu. A fost torturat i forat s fac o mrturisire, pe care a retractat-o mai trziu n faa judectorilor. A fost condamnat la moarte prin mpucare pe 1 februarie 1940. Data exact a morii sale nu se cunoate. Unele surse afirm c a fost executat pe 2 februarie 1940. Meyerhold a fost total reabilitat postum n 1955.

Vsevolod Illarionovich Pudovkin (Russian:

) (16

February 1893 30 June 1953[1][2]) was a Russian and Soviet film director, screenwriter and actor who developed influential theories of montage. Pudovkin's masterpieces are often contrasted with those of his contemporary Sergei Eisenstein, but whereas Eisenstein utilized montage to glorify the power of the masses, Pudovkin preferred to concentrate on the courage and resilience of individuals. A student of engineering at Moscow University, Pudovkin saw active duty during World War I, being captured by the Germans. After the war, he abandoned his professional activity and joined the world of cinema, first as a screenwriter, actor and art director, and then as an assistant director to Lev Kuleshov. After a few tries with advertising cinema, he directed in 1926 that which will be considered one of the masterpieces of silent movies: Mother, where he developed several montage theories that would make him famous. His first feature was followed by The End of St. Petersburg (1927), and Storm Over Asia (also known as The Heir of Genghis Khan), titles which compose a trilogy at the service of the bolshevik revolutionary policy. In 1928, with the advent of sound film, Pudovkin, Sergei Eisenstein and Grigori Aleksandrov signed the Manifest of Sound, in which the possibilities of sound are debated, and always understood as a complement to image. This idea would be brought to bear in his next pictures: A Simple Case (1932) and The Deserter (1933), works that do not match the quality of earlier work.

With an interruption due to health concerns, Pudovkin returned to the movies in 1938, with a cycle of historic pieces that are not as successful as earlier works: Victory (1938); Minin and Pozharsky (1939) and Suvorov (1941). With the end of World War II, under Party criticism, he returned to his earlier subjects. In 1951, Pudovkin was awarded the Stalin Prize. His last work was The Return of Vasili Bortnikov (1953).

David Abelevich Kaufman (Russian:

) (2 anuary 1896 12

February 1954) also known as Denis Kaufman or his pseudonym Dziga Vertov 'or Vertof (Ukrainian: , "spinning top") was a Soviet pioneer documentary film, newsreel director and cinema theorist. His filming practices and theories influenced the cinma vrit style of documentary moviemaking and the Dziga Vertov Group, a radical filmmaking cooperative which was active in the 1960s. In the 2012 Sight and Sound poll, the critics voted Vertov's Man with a Movie Camera (1929) the 8th best film ever made.[1] Vertov's brothers Boris Kaufman and Mikhail Kaufman were also noted filmmakers, as was his wife, Elizaveta Svilova.[citation needed] Vertov was born David Abelevich Kaufman (Russian: ) into a family of Jewish lineage in Biaystok, Poland, then a part of the Russian Empire. His father was a librarian. He Russified his Jewish name David and patronymic Abelevich to Denis Arkadievich at some point after 1918.[2] Vertov studied music at Biaystok Conservatory until his family fled from the invading German army to Moscow in 1915. The Kaufmans soon settled in Petrograd, where Vertov began writing poetry, science fiction and satire. In 1916-1917 Vertov was studying medicine at the Psychoneurological Institute in Saint Petersburg and experimenting with "sound collages" in his free time. He eventually adopted the name "Dziga Vertov", which translates loosely from Ukrainian as 'spinning top'.[3] Vertov is known for many early writings, mainly while still in school, that focus on the individual versus the perceptive nature of the camera lens, which he was known to call his "second eye". Most of Vertov's early work was unpublished, and few manuscripts remain after the Second World War, though some material survived in later films and documentaries created by Vertov and his brothers, Boris Kaufman and Mikhail Kaufman. Vertov is also known for quotes on perception, and its ineffability, in relation to the nature of qualia (sensory experiences) After the Bolshevik Revolution of 1917, at the age of 22, Vertov began editing for Kino-Nedelya ( , the Moscow Cinema Committee's weekly film series, and the first newsreel series in Russia), which first came out in June 1918. While working for Kino-Nedelya he met his future wife, the film director and editor, Elizaveta Svilova, who at the time was working as an editor at Goskino. She began

collaborating with Vertov, beginning as his editor but becoming assistant and co-director in subsequent films, such as Man with a Movie Camera (1929), and Three Songs About Lenin (1934). Vertov worked on the Kino-Nedelya series for three years, helping establish and run a film-car on Mikhail Kalinin's agit-train during the ongoing Russian Civil War between Communists and counterrevolutionaries. Some of the cars on the agit-trains were equipped with actors for live performances or printing presses; Vertov's had equipment to shoot, develop, edit, and project film. The trains went to battlefronts on agitation-propaganda missions intended primarily to bolster the morale of the troops; they were also intended to stir up revolutionary fervor of the masses. In 1919, Vertov compiled newsreel footage for his documentary Anniversary of the Revolution; in 1921 he compiled History of the Civil War. The so-called "Council of Three," a group issuing manifestoes in LEF, a radical Russian newsmagazine, was established in 1922; the group's "three" were Vertov, his (future) wife and editor Elizaveta Svilova, and his brother and cinematographer Mikhail Kaufman. Vertov's interest in machinery led to a curiosity about the mechanical basis of cinema. Kino-Pravda[edit] In 1922, the year that Nanook of the North was released, Vertov started the Kino-Pravda series.[citation needed] The series took its title from the official government newspaper Pravda. "Kino-Pravda" (literally translated, "film truth") continued Vertov's agit-prop bent. "The Kino-Pravda group began its work in a basement in the centre of Moscow" Vertov explained. He called it damp and dark. There was an earthen floor and holes one stumbled into at every turn. Dziga said, " This dampness prevented our reels of lovingly edited film from sticking together properly, rusted our scissors and our splicers." "Before dawndamp, cold, teeth chattering- I wrap comrade Svilova in a third jacket." [quotation needed] 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. 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 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). The cinematography is simple, functional, unelaborateperhaps a result of Vertov's disinterest in both "beauty" and the "grandeur of fiction." Twenty-three issues of the series were produced over a period of three years; each issue lasted about twenty minutes and usually covered three topics. The stories were typically descriptive, not narrative, and included vignettes and exposs, showing for instance the renovation of a trolley system, the organization of farmers into communes, and the trial of Social Revolutionaries; one story shows starvation in the nascent Communist state. Propagandistic tendencies are also present, but with more subtlety, in the episode featuring the construction of an airport: one shot shows the former Tsar's tanks helping prepare a foundation, with an intertitle reading "Tanks on the labor front."

Vertov clearly intended an active relationship with his audience in the seriesin the final segment he includes contact informationbut by the 14th episode the series had become so experimental that some critics dismissed Vertov's efforts as "insane". Vertov responds to their criticisms with the assertion that the critics were hacks nipping "revolutionary effort" in the bud, and concludes the essay with his promise to "explode art's tower of Babel."[4] In Vertov's view, "art's tower of Babel" was the subservience of cinematic technique to narrative, commonly known as the Institutional Mode of Representation. By this point in his career, Vertov was clearly and emphatically dissatisfied with narrative tradition, and expresses his hostility towards dramatic fiction of any kind both openly and repeatedly; he regarded drama as another "opiate of the masses". Vertov freely admitted one criticism leveled at his efforts on the "Kino-Pravda" seriesthat the series, while influential, had a limited release. By the end of the "Kino-Pravda" series, Vertov made liberal use of stop motion, freeze frames, and other cinematic "artificialities," giving rise to criticisms not just of his trenchant dogmatism, but also of his cinematic technique. Vertov explains himself in "On 'Kinopravda'": in editing "chance film clippings" together for the Kino-Nedelia series, he "began to doubt the necessity of a literary connection between individual visual elements spliced together.... This work served as the point of departure for 'Kinopravda.'"[5] Towards the end of the same essay, Vertov mentions an upcoming project which seems likely to be Man with the Movie Camera, calling it an "experimental film" made without a scenario; just three paragraphs above, Vertov mentions a scene from "Kino Pravda" which should be quite familiar to viewers of Man with the Movie Camera: the peasant works, and so does the urban woman, and so too, the woman film editor selecting the negative...."[6] Man with a Movie Camera[edit] Main article: Man with a Movie Camera With Lenin's admission of limited private enterprise through his New Economic Policy (NEP) of 1921, Russia began receiving fiction films from afar, an occurrence that Vertov regarded with undeniable suspicion, calling drama a "corrupting influence" on the proletarian sensibility ("On 'Kinopravda,'" 1924). By this time Vertov had been using his newsreel series as a pedestal to vilify dramatic fiction for several years; he continued his criticisms even after the warm reception of Sergei Eisenstein's Battleship Potemkin in 1925. Potemkin was a heavily fictionalized film telling the story of a mutiny on a battleship which came about as a result of the sailors' mistreatment; the film was an obvious but skillful propaganda piece glorifying the proletariat. Vertov lost his job at Sovkino in January 1927, possibly as a result of criticizing a film which effectively preaches the line of the Communist Party. He was fired for making A Sixth Part of the World: Advertising and the Soviet Universe for the State Trade Organization into a propaganda film, selling the Soviet as an advanced society under the NEP, instead of showing how they fit into the world economy. The Ukraine State Studio hired Vertov to create Man with a Movie Camera. Vertov says in his essay "The Man with a Movie Camera" that he was fighting "for a decisive cleaning up of film-language, for its complete separation from the language of theater and literature."[7] By the later segments of Kino-Pravda, Vertov was experimenting heavily, looking to abandon what he

considered film clichs (and receiving criticism for it); his experimentation was even more pronounced and dramatic by the time of Man with a Movie Camera, which was filmed in Ukraine. Some have criticized the obvious stagings in this film as being at odds with Vertov's credos of "life as it is" and "life caught unawares": the scene of the woman getting out of bed and getting dressed is obviously staged, as is the reversed shot of the chess pieces being pushed off a chess board and the tracking shot which films Mikhail Kaufman riding in a car filming a third car. However, Vertov's two credos, often used interchangeably, are in fact distinct, as Yuri Tsivian points out in the commentary track on the DVD for Man with the Movie Camera: for Vertov, "life as it is" means to record life as it would be without the camera present. "Life caught unawares" means to record life when surprised, and perhaps provoked, by the presence of a camera.[8] This explanation contradicts the common assumption that for Vertov "life caught unawares" meant "life caught unaware of the camera." All of these shots might conform to Vertov's credo "caught unawares." His slow motion, fast motion, and other camera techniques were a way to dissect the image, Mikhail Kaufman stated in an interview. It was to be the honest truth of perception. For example, in Man with a Movie Camera, two trains are shown almost melting into each other, although we are taught to see trains as not riding that close, Vertov tried to portray the actual sight of two passing trains. Mikhail spoke about Eisenstein's films as being different from his and his brother's in that Eisenstein, "came from the theatre, in the theatre one directs dramas, one strings beads." "We all felt...that through documentary film we could develop a new kind of art. Not only documentary art, or the art of chronicle, but rather an art based on images, the creation of an image-oriented journalism" Mikhail explained. More than even film truth, Man with a Movie Camera, was supposed to be a way to make those in the Soviet Union more efficient in their actions. He slowed down his actions, such as the decision whether to jump or not, you can see the decision in his face, a psychological dissection for the audience. He wanted a peace between the actions of man and the actions of a machine, for them to be, in a sense, one. Cine-Eye[edit] "Cine-Eye" is a montage method developed by Dziga Vertov which was first formulated in his work "WE: Variant of a Manifesto" in 1919. Dziga Vertov believed his concept of Kino-Glaz, or "Cine Eye" in English, would help contemporary "man" evolve from a flawed creature into a higher, more precise form. He compared man unfavorably to machines: In the face of the machine we are ashamed of mans inability to control himself, but what are we to do if we find the unerring ways of electricity more exciting than the disorderly haste of active people *...+*9+ "I am an eye. I am a mechanical eye. I, a machine, I am showing you a world, the likes of which only I can see" Dziga was quoted as saying. Like other Russian filmmakers, he attempted to connect his ideas and techniques to the advancement of the aims of the Soviet Union. Whereas Sergei Eisenstein viewed his montage of attractions as a creative tool through which the film-viewing masses could be subjected to emotional and psychological influence and therefore able to perceive the ideological aspect of the films they were watching,

Vertov believed the Kino-Eye would influence the actual evolution of man, from a bumbling citizen through the poetry of the machine to the perfect electric man.*10+ Vertov believed film was too romantic and theatricalised due to the influence of literature, theater, and music, and that these psychological film-dramas prevent man from being as precise as a stop watch and hamper his desire for kinship with the machine. He desired to move away from the preRevolutionary fictional models of filmmaking to one based on the rhythm of machines, seeking to bring creative joy to all mechanical labour*11+ and to bring men closer to machines.*11+ Late career[edit] Vertov's cinema success continued into the 1930s. In 1931, he released Enthusiasm: Symphony of the Donbass, an examination into Soviet miners. Enthusiasm has been called a 'sound film', with sound recorded on location, and these mechanical sounds woven together, producing a symphony-like effect. Three years later, Three Songs about Lenin looked at the revolution through the eyes of the Russian peasantry. For his film, however, Vertov had been hired by Mezhrabpomfilm, a Soviet studio that produced mainly propaganda efforts. The film, finished in January 1934 for Lenin's obit, was only publicly released in November of that year. A new version of the film was published in 1938, including a longer sequence to reflect Stalin's "achievements" at the end of the film and leaving out footage with "enemies" of that time. Today there exists a 1970 reconstruction by Elizaveta Svilova. With the rise and official sanction of socialist realism in 1934, Vertov was forced to cut his personal artistic output significantly, eventually becoming little more than an editor for Soviet newsreels. Lullaby, perhaps the last film in which Vertov was able to maintain his artistic vision, was released in 1937. Dziga Vertov died of cancer in Moscow in 1954. Family[edit] Vertov's brother Boris Kaufman was a noted cinematographer who worked much later for directors such as Elia Kazan and Sidney Lumet in America. (He won an Oscar for his work on On the Waterfront.) His other brother, Mikhail Kaufman, worked as Vertov's cinematographer until he became a documentarian in his own right. In September 1929, Vertov married his long-time collaborator Elizaveta Svilova. Influence and legacy[edit] Vertov's legacy still lives on today. His ideas are echoed in cinma vrit, the movement of the 1960s named after Vertov's Kino-Pravda. The 1960s and 1970s saw an international revival of interest in Vertov.[12] The independent, exploratory style of Vertov influenced and inspired many filmmakers and directors like the Situationist Guy Debord and independent companies such as "Vertov Industries," in Hawaii. The Dziga Vertov Group borrowed his name. In 1960, Jean Rouch used Vertov's filming theory when making Chronicle of a Summer. His partner Edgar Morin coined Cinma vrit term when describing the style, using direct translation of Vertovs KinoPravda.

The Free Cinema movement in the United Kingdom during the 1950s, the Direct Cinema in North America in the late 1950s and early 1960s, and the Candid Eye series in Canada in the 1950s, all essentially owed a debt to Vertov.[13] This revival of Vertov's legacy included rehabilitation of his reputation in the Soviet Union, with retrospectives of his films, biographical works and writings. In 1962, the first Soviet monograph on Vertov was published, followed by another collection, 'Dziga Vertov: Articles, Diaries, Projects.' To recall the 30th anniversary of Vertov's death, three New York cultural organizations put on the first American retrospective of Vertov's work.[citation needed] New Media theorist Lev Manovich suggested Vertov as one of the early pioneers of database cinema genre in his essay Database as a symbolic form. Quotes[edit] "It is far from simple to show the truth, yet the truth is simple." [1] "I am the machine that reveals the world to you as only I alone am able to see it." "I was returning from the railroad station. In my ears, there remained chugs and bursts of steam from a departing train. Somebody cries in laughter, a whistle, the station bell, the clanking locomotive...whispers, shouts, farewells. And walking away I thought I need to find a machine not only to describe but to register, to photograph these sounds. Otherwise, one cannot organize or assemble them. They fly like time. Perhaps a camera? That records the visual. But to organize the visual world and not the audible world? Is this the answer?"- Dziga Vertov "Our eyes see very little and very badly so people dreamed up the microscope to let them see invisible phenomena; they invented the telescope...now they have perfected the cinecamera to penetrate more deeply into the visible world, to explore and record visual phenomena so that what is happening now, which will have to be taken account of in the future, is not forgotten." "Everybody who cares for his art seeks the essence of his own technique. (1922) Filmography[edit] Poster for Kino-Glaz, designed by Alexander Rodchenko (1924) 1919 1919 1922 1924 1924 (Kino Nedelya, Cinema Week) (Anniversary of the Revolution) (History of the Civil War)

(Soviet Toys)

(Cinema Eye)

1925 1926 1928 1929 1930 1934 1937 1937 1938 1942 1944 1954

(Kino-Pravda) (A Sixth of the World/The Sixth Part of the World)

(The Eleventh Year) ( (Man with a Movie Camera) ) (Enthusiasm)

(Three Songs About Lenin) (In Memory of Sergo Ordzhonikidze)

(Lullaby) (Three Heroines)

! (Kazakhstan for the Front!) (In the Mountains of Ala-Tau)

(News of the Day) ; 13 anuary *O.S. 1

Lev Vladimirovich Kuleshov (Russian:

January] 1899 29 March 1970) was a Soviet filmmaker and film theorist who taught at and helped establish the world's first film school, the Moscow Film School. Kuleshov may well be the very first film theorist as he was a leader in Soviet montage theory developing his theories of editing before those of Sergei Eisenstein (briefly a student of Kuleshov) and Vsevolod Pudovkin. For Kuleshov, the essence of the cinema was editing, the juxtaposition of one shot with another. To illustrate this principle, he created what has come to be known as the Kuleshov Experiment. In this now-famous editing exercise, shots of an actor were intercut with various meaningful images (a casket, a bowl of soup, and so on) in order to show how editing changes viewers' interpretations of images. In addition to his theoretical work, Kuleshov was an active director of feature-length films until 1943. Since 1943 Kuleshov was serving as the academic rector of Gerasimov Institute of Cinematography.

Mircea Sucan (n. 5 aprilie 1928, Paris, Frana - d. 13 aprilie 2003, Nazaret Illit, Israel) a fost un
regizor i scriitor romn. A emigrat n Israel n anul 1987. Nscut la Paris dintr-un tat romn (Alexandru Sucan) i o mam evreic (Tereza Solomon), familia s-a mutat iniial n Praga, unde prinii s-au cstorit oficial *1+, pentru ca ulterior s se stabileasc n Romnia la Carei din 1934 . n urma Dictatului de la Viena, familia se refugiaz ntre 1940 - 1944 la Sibiu i Sighioara *1+ .

ntre 1948 - 1952 a studiat regia la Institutul Unional de Cinematografie din Moscova [1], unul dintre profesori (pentru scurt timp) fiindu-i chiar marele Eisenstein [2] . Cstorit din 1959 cu Suzana ( uja) Roth, cu care are un biat, Emil (n. 1961) *1+ . Iniial sincer pro-comunist, devine rapid un indezirabil prin calitatea artistic i problematica non conformist a filmelor i a prozei sale *3+ . Se hotrte s emigreze n 1987 dup 7 ani de omaj impus *2+ i odat cu dispariia ambilor prini *1+ .

Filmografie (regizor)[modificare | modificare surs+ Pe drumul libertii (1954) Casa de pe strada noastr (1957) Pagini de vitejie (1959) Cnd primvara e fierbinte (1960) rmul n-are sfrit (1962) Meandre (1966) 100 de lei (1973) Le retour (1994) - scurtmetraj produs de Ministerul Francez de Externe [1] Mircea Saucan e un nume pe nedrept uitat din cinematografia romaneasca. A facut cel putin doua filme fundamentale, cu mult inaintea timpului lor: Meandre (1966) si Suta de lei (1973). Regimul nu l-a inghitit, desi arta lui nu era fatis ostila comunistilor. Regizorul chiar studiase la Moscova. Filmele lui Saucan reprezentau un strigat de libertate, care n-avea legatura cu o doctrina sau alta. Comunistii l-au supus la presiuni enorme. A editat Meandre cu un securist in sala de montaj. E un miracol ca pelicula a fost salvata pana azi. Saucan a fost impins -la propriu- pana in pragul sinuciderii, scos pe linie moarta din punct de vedere profesional si, pana la urma, obligat sa emigreze in 1987 (in Israel, unde a si murit in 2003).

Victor Iliu (n. 24 noiembrie 1912, Sibiu - d. 4 septembrie 1968, Roma, Italia), regizorul clasicei
ecranizri Moara cu noroc, una dintre primele pelicule romneti nominalizate la marele premiu Palme dOr din cadrul Festivalului de Film de la Cannes, ediia din anul 1957, a fost mai nti critic i teoretician de film. Victor Iliu s-a nscut la 24 noiembrie 1912, n Sibiu, Romnia (atunci Hermannstadt, Austro-Ungaria ) i a absolvit Academia Comercial din Bucureti. ncepnd cu anul 1936 s-a remarcat prin publicistica despre

film. Din 1941 a lucrat ca asistent operator i asistent de regie, iar ntre anii 1944 i 1948 a ocupat funciile de consilier tehnic, redactor i regizor al jurnalului de actualiti, n cadrul Oficiului Naional al Cinematografiei. n Rusia a urmat un stagiu de specializare la Moscova, cu marele regizor i teoretician de film Serghei Eisenstein [1] Prin Decretul nr. 514 din 18 august 1964 al Consiliului de Stat al Republicii Populare Romne, regizorului Victor Iliu i s-a acordat titlul de Artist Emerit al Republicii Populare Romne pentru merite deosebite n activitatea desfurat n domeniul teatrului, muzicii, artelor plastice i cinematografiei.*2+ Filmografie (regizor)*modificare | modificare surs+ Anul 1848 (1948) Scrisoarea lui Ion Marin ctre Scnteia (1949) n sat la noi (1951) Mitrea Cocor (1952) O scrisoare pierdut (1953) La moara cu noroc (1955) Comoara din Vadul Vechi (1964) Una dintre primele pelicule romneti nominalizate la marele premiu Palme dOr din cadrul Festivalului de Film de la Cannes, ediia din anul 1957, era Moara cu noroc (1955), n regia lui Victor Iliu. Regizorul s-a nscut la 24 noiembrie 1912, n Sibiu, i a absolvit Academia Comercial din Bucureti. ncepnd cu anul 1936 s-a remarcat prin publicistica despre film. Din 1941 a lucrat ca asistent operator i asistent de regie, iar ntre anii 1944 i 1948 a ocupat funciile de consilier tehnic, redactor i regizor al jurnalului de actualiti, n cadrul Oficiului Naional al Cinematografiei. n Rusia a urmat un stagiu de specializare la Moscova, cu marele regizor i teoretician de film Serghei Eisenstein. Au urmat primele filme, documentarele Anul 1848" (1948) i Scrisoarea lui Ion Marin ctre Scnteia" (1949). n 1950 a fost numit director al Institutului de Art Cinematografic din Bucureti, unde a predat, de asemenea, cursuri de regie. mpreun cu ean Georgescu, a semnat primul su lungmetraj, drama n sat la noi", n anul 1951, pentru care a primit un premiu la prestigiosul Festival de la Karlovy Vary, din Cehia.Tot acolo i-a fost recompensat i urmtorul lungmetraj Mitrea Cocor", realizat n 1952. Un an mai trziu, Victor Iliu realiza, mpreun cu Sic Alexandrescu, una dintre cele mai memorabile ecranizri ale piesei lui Caragiale, O scrisoare pierdut", ce-i avea n distribuie, printre alii, pe Nicky Atanasiu i pe Radu Beligan. Dup Moara cu noroc" a urmat ultimul lungmetraj semnat de Victor Iliu - Comoara din Vadul Vechi" (1964). n ultimii ani de via, regizorul a fost director artistic al Studioului Bucureti (1966 1967). S-a stins din via un an mai trziu, la 4 septembrie 1968.