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Film as an organism and as a machine

By Marek Šindelka

Abstract

Abstract The thesis focuses on comparsion of theoretical aproaches of Sergei Eisenstein, Dziga Vertov and Andrei Tarkovsky, as a three completely different positions on a scale between organic and mechanic film. Each of these positions has its own specific temporality, according to editing method used by the artist: Eisenstein's dialectic montage in the mode "human-nature", Vertov's dialectic montage in the mode "eye-material", and Tarkovsky's antidialectic montage of self-generating film structure based on time pressure within the shots

Topics: ruská kinematografie; filmová montáž; práce režiséra; filmoví režiséři; Tarkovskij, Andrej Arsen'jevič, 1932-198; Vertov, Dziga, 1896-1954; Ejzenštejn, Sergej Michajlovič, 1898-194
Publisher: Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna
Year: 2015
OAI identifier: oai:invenio.nusl.cz:251436
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