Table of Contents

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.

Promotional Information

This book examines the radical experiments of early Soviet filmmakers, with a detailed analysis of The Man with the Movie Camera (1929).

Reviews

Review of the hardback: 'The publication of Vlada Petrić'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 and Video

Review of the hardback: 'In this remarkable book, Vlada Petrić 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