Hey folks! Sorry I haven’t been on here as much lately, life is hectic (Yes, I’m talking to the 4 or 5 people who actively read this). Going to post a few class assignments on here this week and then get back to my usual weekly random film analysis as always (Also, by the way – I have never taken an Acting, Dance, or Christianity class).
^ Me as of late ^
First up! This is an excerpt from a Film Theory Response entitled ‘Cinema as Extension’, which compares the works and musings of Dziga Vertov, Lev Kuleshov, and Esfir Shub – all Soviet filmmakers/theorists/all-around auteurs. This is actually the conclusion of my paper, which I hope wraps up most of my more detailed explanations smoothly.
“Though Dziga Vertov, Lev Kuleshov, and Esfir Shub all were dominant figures within the Soviet film industry, each represented slightly different ideological and theoretical practices of cinema as extension. Vertov’s kino-eye was an extension of the human eye, Kuleshov’s cinematic apparatus and process was an extension of the human mind, and Shub’s works were an extension of collective human memory and experience in the form of film archives. Vertov and Kuleshov’s unification under cinema as mechanical flesh fusion helped formulate much of what the Soviet cinema movement centered on. However, although they both “fought” for the same cause, there were details and ideological variances that differentiated their theoretical and filmic bodies of work. Regardless of their theoretical discrepancies, their bodies of work will forever speak for themselves as early forgers of cinema’s history.”