Film Society Selection
Life Through a Lens First of four shows of documentary
'MAN WITH A MOVIE CAMERA'
book a ticket for this and forthcoming BFS screenings please contact the SHP Box
Office on 01344 484123 or click the logo below to book via the SHP website.
Tickets £8.60, SHP members £7.00.
BFS members (BFS shows only)
£6.60. You may have to show a BFS membership card. Concessions £7.60.
SHP make an additional £0.70 charge when paying by credit card. Reserving
a ticket by phone, expect to pay by cash at the box office 30 minutes prior to
Vertov, Russia, 1929, 68 minutes, silent with intertitles.
Sight & Sound's Greatest Documentary of All Time, this narrative-free portrait
of city life uses all the cinematic techniques at Vertov's disposal - dissolves,
split screen, slow motion and freeze-frames - to produce a work that is exhilarating
and dazzlingly inventive. Featuring an exuberant and energetic score by Michael
Plus short film
Winner at DepicT! 2015y
Directors. Thomas Phelan/George
Lewis/Jack O'dowd, UK, 2014, 2 minutes
An old man ruminates about an ominous
factory's hold on the world and possibly himself.
1Thursday 30 July 2015 21.40 BST. Last modified on Friday
31 July 2015 00.00 BST
With a Movie Camera
of a visionary, transformative 1929 experimental film
Vertovs experimental silent documentary upends reality in ways that are
still dizzying, thrilling and strangely sexy
Dense with ideas, packed with
The spirit of punk throbs in this extraordinary silent classic
from 1929, now on cinema rerelease. Dziga Vertovs experimental documentary
essay remains fascinating after all these years, as potent as an exposed fragment
of sodium. It shows scenes of city life in Moscow, Odessa and Kiev, and the credits
describe it as an experiment in cinematic communication of visible events,
which doesnt do justice to its dedication to transforming and upending reality.
This film is visibly excited about the new mediums possibility, dense with
ideas, packed with energy: it echoes Un Chien Andalou, anticipates Vigos
À Propos De Nice and the New Wave generally, and even Riefenstahls
Olympia. There are trick-shots, split-screens, stop-motion animation, slo-mo and
speeded up action. Welles never had as much fun with his train-set as Vertov had
with his movie camera. The title self-reflexively describes what is happening:
we see the cameraman recording the images we are seeing; a man is shown with his
camera tripod, rushing about, daringly hanging from trams to get his shot. But
it is also the films subject: man and cinema. Vertov shows machinery and
factories and intuits that this is what cinema is: the mass production and consumption
of image. The combustion engine gave humanity the new experience of speed; now
the movie camera gave us a dizzying new speed of perception and creation. Man
With a Movie Camera is also gleefully sexy. The bodies on the beach are sexy
and the camera makes everything else sexy and exciting as well.