From Automaton to Movie Camera

2022 ◽  
Keyword(s):  
Movie Camera

Dramatic Effects with a Movie Camera

2021 ◽  
Author(s):  
Gail Segal ◽  
Sheril Antonio
Keyword(s):  
Movie Camera

scholarly journals PROSES PENYUNTINGAN BERITA PADA PERUSAHAAN JAWATAN TELEVISI REPUBLIK INDONESIA (TVRI) BENGKULU

2015 ◽  
Vol 1 (1) ◽  
Author(s):  
Sapta Sari
Keyword(s):  
United States ◽  
Data Analysis ◽  
Television News ◽  
The United States ◽  
Delivery Technique ◽  
Qualitative Descriptive ◽  
Descriptive Approach ◽  
Editing Process ◽  
Movie Camera

In  line  with  times,  television  news  center  has  been  equipped  with  a  variety  of sophisticated tools, such as the ones used in the production and editing process of the Company Bureau (PERJAN) TVRI Bengkulu. Some of the tools used were: ENG (Electronic News Gathering), a large movie camera (Sound On Film) electronic editing tools, broadcasting space, VTR space, and various other supporting tools that are used to improve the quality of broadcasting. In this research, researchers used a qualitative descriptive approach by interview, observation and documentation, followed by data analysis. The result of this research found that the process of delivering news on TVRI Bengkulu, particularly on program Bengkulu dalam Berita, has been carried out by adjusting the news delivery technique through two ways: ie the way the British were serious and formal and casual events of the United States. Both methods have been implemented in the event of this program.Keywords: editing process, news 

scholarly journals Dziga Vertov’s Cinema as a Language of Temporal Reflection

Discourse ◽  
2021 ◽  
Vol 7 (3) ◽  
pp. 36-51
Author(s):  
A. E. Yakimov
Keyword(s):  
Turning Point ◽  
Symbolic Language ◽  
Modern Time ◽  
Language Functions ◽  
Non Fiction ◽  
Time Out ◽  
New Beginning ◽  
Time Regime ◽  
Movie Camera ◽  
Methodological Ground

Introduction. The article is devoted to the general theoretical analysis of Dziga Vertov’s cinema as a language of temporal reflection. According to essential hypothesis of this research Vertov’s work expresses the feature of the temporal regime of the culture of Soviet modernity.Methodology and sources. The author uses the terms “temporal reflection” and “time regime of culture” guided by the A. Assmann’s work “Is Time Out of Joint? On the Rise and Fall of the Modern Time Regime”. The article is rethinking these concepts and point out as a methodological ground for the analysis of non-fiction cinematography.Results and discussion. As a result of the analysis of both Vertov’s films and texts and theoretical works devoted to the study of his work, it is argued that Vertov’s non-fiction films could be considered as a symbolic language of temporal reflection. Particular attention is paid to Vertov’s both theoretical works and manifestos, and at the technical level – to the cinematographic techniques and means of expression of time. The temporal regime of modernity according to the Assmann includes features such as the turning point of time, the fiction of a new beginning, creative destruction, the emergence of the concept of “historical” and the acceleration of time. The analysis of the film “Man with a Movie Camera” (1929) given in the article demonstrates that Vertov’s work expresses these features. This conclusion is also confirmed by a number of theoretical positions in Vertov’s works, some of which are presented in the article.Conclusion. Based on the analysis, it is concluded that Vertov’s cinematic experiments are inventing a new language for comprehending time of history and culture. This language functions on account of the mechanical reduction of reality and the synthesis of the resulting images-perceptions based on the principle of ideological and poetic advisability.

scholarly journals Las exposiciones de El Lissitzky a través del Cine-ojo

2017 ◽  
Vol 4 (1) ◽  
pp. 151
Author(s):  
Luz Paz-Agras
Keyword(s):  
Twentieth Century ◽  
Avant Garde ◽  
Human Eye ◽  
Photographic Camera ◽  
New Concepts ◽  
Movie Camera

The Avant-Garde movements of the twentieth century explored the creative possibilities of new types of media in architecture, such as the photographic camera or cinema. In a series of experimental projects, authors such as El Lissitzky based their work on assimilating the human eye with a mechanical lens, making it possible to create new concepts of space. A simultaneous consideration of the resources of Vertov’s Cine-Eye in relation to the exhibition projects of El Lissitzky reveals some of his proposals as paradigmatic examples of the perceptive experimentation of the viewer in relation to art, and in a wider sense, to architecture. By analysing the cinematic resources of the film <em>Man with a Movie Camera</em> (1929), architectural aspects are analysed in the exhibition spaces of the Abstract Cabinet and PRESSA, identifying connections that break down the boundaries between the different disciplines.

Versatile microsecond movie camera

1980 ◽  
Vol 19 (6) ◽  
pp. 905 ◽  
Author(s):  
R. W. Dreyfus
Keyword(s):  
Movie Camera

The Man with the Movie Camera

BMJ ◽  
1994 ◽  
Vol 308 (6932) ◽  
pp. 862-862
Author(s):  
T. Delamothe
Keyword(s):  
Movie Camera

Montage Reloaded: From Russian Avant-Garde to the Audiovisual Essay

2020 ◽  
Author(s):  
Julia Vassilieva
Keyword(s):  
Theory And Practice ◽  
Avant Garde ◽  
New Type ◽  
Movie Camera

In this chapter, I explore the relevance of early Russian montage theory and practice to new issues raised by the shift from the essay film to the audiovisual essay. I investigate how, specifically, Sergei Eisenstein’s vision of the new type of cinema of ideas formulated in his project for filming Marx’s Das Kapital, Dziga Vertov’s foregrounding of subjectivity and reflexivity in The Man with a Movie Camera, and Esphir Shub’s practice of ‘compilation film’ contributed to the emergence of the essay film and continue to stimulate the theory and practice of the audiovisual essayism.

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