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Dziga Vertov's Revolutionary Variety Show

机译:Dziga Vertov的革命综艺节目

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Within the early Soviet Union, artists and theorists experimented with a variety of representational forms and modes that were designed to manipulate audience reception and effect a new Soviet subjectivity. Investigating Dziga Vertov's often overlooked and misread first feature-length film, Kino-Glaz (1924), this article discovers within this historical context a unique cinematic intervention that sought to institute an alternative hegemony to American narrative film, and dominant conventions of narrativity itself, by exploiting the subjects and composite forms of early cinema to evolve a new proletarian sphere.View full textDownload full textKeywordsearly cinema, cinema of attractions, variety show, Soviet avant-garde, constructivism, continuity editing, montage, documentary, advertising history, propaganda, Kino-Glaz , Dziga VertovRelated var addthis_config = { ui_cobrand: "Taylor & Francis Online", services_compact: "citeulike,netvibes,twitter,technorati,delicious,linkedin,facebook,stumbleupon,digg,google,more", pubid: "ra-4dff56cd6bb1830b" }; Add to shortlist Link Permalink http://dx.doi.org/10.1080/17460654.2012.694692
机译:在苏联初期,艺术家和理论家尝试了各种表征形式和模式,旨在操纵观众的接待并实现新的苏联主观性。在调查Dziga Vertov经常被忽视和误读的第一部长篇电影《奇诺·格拉兹(Kino-Glaz,1924)》之后,这篇文章发现了这种历史背景下独特的电影干预,试图建立起美国叙事电影的另一种霸权,以及叙事性本身的主要习俗,通过利用早期电影的主题和组合形式来发展新的无产阶级领域。查看全文下载全文早期电影,景点电影,综艺节目,苏联前卫,建构主义,连续性编辑,蒙太奇,纪录片,广告历史,宣传, Kino-Glaz,Dziga Vertov相关变量addthis_config = {ui_cobrand:“泰勒和弗朗西斯在线”,servicescompact:“ citeulike,netvibes,twitter,technorati,delicious,linkedin,facebook,stumbleupon,digg,google,更多”,发布:“ ra- 4dff56cd6bb1830b“};添加到候选列表链接永久链接http://dx.doi.org/10.1080/17460654.2012.694692

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