Preface; Acknowledgement; 1. Dziga Vertov and the Soviet avant-garde movement; 2. Thematic meaning of The Man with the Movie Camera; 3. Formal structure of The Man with the Movie Camera; 4. Descriptive score for The Man with the Movie Camera; Appendices; Notes; Frame enlargements; Plates; Index.
This book examines the radical experiments of early Soviet filmmakers, with a detailed analysis of The Man with the Movie Camera (1929).
Review of the hardback: 'The publication of Vlada Petric's
Constructivism in Film ... is a long-awaited and important moment
in film criticism ... after decades in which Vertov's concepts of
cinema have been insufficiently researched and often
misrepresented, English-speaking readers and lovers of film as an
art form have two important opportunities: (1) to obtain
information directly from the source and (2) to understand Vertov's
expansive achievement and its theoretical basis. At last there is
much to read, seriously consider, and appreciate.' Journal of Film
Review of the hardback: 'In this remarkable book, Vlada Petric explicates the cinematic text of one of the most famous works of avant-garde nonfiction film, Dziga Vertov's The Man with the Movie Camera ... it is difficult to imagine a better or more complete formal analysis of a single movie, or a book that teaches us more about the 'cinematic way of seeing', than Constructivism in Film'. The Russian Review