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035   $a(DE-B1597)9781782380788
035   $a(EXLCZ)992670000000494380
100   $a20130605d2013      uy|            0
101 0 $aeng
135   $aur|n|---|||||
181   $ctxt
182   $cc
183   $acr
200 14$aThe men with the movie camera $ethe poetics of visual style in Soviet avant-garde cinema of the 1920s /$fPhilip Cavendish
210  1$aNew York :$cBerghahn Books,$d2013.
215   $a1 online resource (362 p.)
300   $aDescription based upon print version of record.
311   $a1-78238-077-9 
320   $aIncludes filmography.
320   $aIncludes bibliographical references and index.
327   $aIntroduction -- The theory and practice of camera operation within the Soviet avant-garde of the 1920s -- Eduard Tisse and Sergei Eisenstein -- Anatolii Golovnia and Vsevolod Pudovkin -- Andrei Moskvin and the Factory of the Eccentric Actor (FEKS) -- Danylo Demutskyi and Oleksandr Dovzhenko -- Conclusion.
330   $a Unlike previous studies of the Soviet avant-garde during the silent era, which have regarded the works of the period as manifestations of directorial vision, this study emphasizes the collaborative principle at the heart of avant-garde filmmaking units and draws attention to the crucial role of camera operators in creating the visual style of the films, especially on the poetics of composition and lighting. In the Soviet Union of the 1920s and early 1930s, owing to the fetishization of the camera as an embodiment of modern technology, the cameraman was an iconic figure whose creative contri
606   $aCinematography$zSoviet Union$xHistory
606   $aExperimental films$zSoviet Union$xHistory and criticism
606   $aSilent films$zSoviet Union$xHistory and criticism
615  0$aCinematography$xHistory.
615  0$aExperimental films$xHistory and criticism.
615  0$aSilent films$xHistory and criticism.
676   $a777
700   $aCavendish$b Philip$01681646
801  0$bMiAaPQ
801  1$bMiAaPQ
801  2$bMiAaPQ
906   $aBOOK
912   $a9910820980103321
996   $aThe men with the movie camera$94051174
997   $aUNINA