Paul Strand - Manhattan (1921)

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Enviado por sincproject em 07/08/2007

Paul Strand-Manhatta(1921)

Manhatta documents the look of early-20th-century Manhattan. With the city as subject, the film consists of 65 shots sequenced in a loose non-narrative structure, beginning with a ferry approaching Manhattan and ending with a sunset view from a skyscraper. The primary objective of the film is to explore the relationship between photography and film; camera movement is kept to a minimum, as is incidental motion within each shot. Each frame provides a view of the city that has been carefully arranged into abstract compositions.

The film was an attempt to show the filmmakers' love for the city of New York. Manhatta was a collaboration between painter Charles Sheeler and photographer Paul Strand. The intertitles include excerpts from the writings of Walt Whitman. [edit]

Preservation status The film has been deemed "culturally significant" by the Library of Congress, selected for preservation in the United States National Film Registry, and was restored for the DVD set Unseen Cinema in October 2005. The film was completely restored in January 2009 by archivist Bruce Posner, working with film restoration company Lowry Digital 

Posner spent close to four years returning the film to its original glory.(Wikipedia)

Alberto Cavalcanti - Paris, Rien que les heures (1926)

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Enviado por DoctorOjiplatico em 02/02/2012

Director
Alberto Cavalcanti

País: 

Francia

Idioma: Intertítulos en francés con subs en inglés pegados

Género: 

Documental, sinfonía urbana

Sinopsis: 

Serie de impresiones de París durante un día y noche cualquiera, expresando el paso del tiempo en asociación con incidentes personales. Cavalcanti abandona el París de "souvenir" para adentrarse por sus barrios y callejuelas oscuras, entradas de servicio y patios traseros, en busca del espacio habitado y vivido, del habitar como movimiento perpetuo.

+Info: http://www.doctorojiplatico.com/2012/02/rien-que-les-heures-1926-alberto.html
desde Las Sinfonías Urbanas (1921-1934) en Doctor Ojiplático

Rien que les heures (English: Nothing But Time or Nothing But the Hours) is a 1926 experimental silent film by Brazilian director Alberto Cavalcanti showing the life of Paris through one day in 45 minutes. Cavalcanti made a similar film about Berlin the next year. Other noted examples of the genre include Charles Sheeler and Paul Strand's Manhatta (1921), Walter Ruttmann's Berlin: Symphony of a Metropolis (1927), Andre Sauvage's Etudes sur Paris (1928), and Dziga Vertov's Man With a Movie Camera (1929) (Wikipedia)

Adalberto Kemeny # Rudolf Rex Lustig - São Paulo: Sinfonia da Metrópole - 1929

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Enviado por fredsondias em 09/07/2011

Mais em http://gratisvideoaulas.blogspot.com
Documentário sobre a cidade de São Paulo, Brasil, tendo como modelo e inspiração de Berlim anteriores: Die Sinfonie der Großstadt (1927).

Jean Vigo - A Propos de Nice - 1929

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Enviado por naranjasdehiroshima em 16/05/2011

A Propos de Nice Jean Vigo

Director: Jean Vigo

En 1929 Jean Vigo invitó a Boris Kaufman (hermano de Dziga Vertov) para trabajar con él y realizaron la obra: "Sobre Niza" ( À Propos de Nice -1930-). Puede definirse como una visión sobre una sociedad superficial en proceso de putrefacción. En esta corto mudo, y por regla general, cuando trabajaban juntos, Kaufman filmaba y Vigo dirigía. Con frecuencia Vigo llevaba a Kaufman a pasear en silla de ruedas con una cámara entre las piernas y tapada por una manta (la silla de ruedas pasaba desapercibida en una ciudad como Niza). Así eran capaces de filmar a las personas sin que se diesen cuenta, que era lo que ambos buscaban porque eran partidarios de la teoría kino-pravda (cine-verdad).

http://naranjasdehiroshima.blogspot.com/2007/05/jean-vigo-proposito-de-niza-t...

Walter Ruttmann - Berlim, Sinfonia duma Metrópole (Berlin: Die Sinfonie der Großstadt) - 1927

 

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Enviado por DoctorOjiplatico em 03/02/2012

Documental mudo que se centra en la ciudad de Berlín, desde que amanece el día hasta que cae la noche. Los quehaceres de los ciudadanos, los tranvías y los trenes, la multitud en la calle, las fábricas, los edificios... todo esto y más está perfectamente retratado por Walter Ruttmann, con una música acorde con la acción de las escenas.

Directed by

Walter Ruttmann (as Walther Ruttmann)

Berlin: Symphony of a Metropolis (German: Berlin: Die Sinfonie der Großstadt) is a 1927 German film directed by Walter Ruttmann, co-written by Carl Mayer and Karl Freund. The film is an example of the city symphony film genre.  A musical score for an orchestra to accompany the silent film was written by Edmund Meisel. 

As a "city symphony" film, it portrays the life of a city, mainly through visual impressions in a semi-documentary style, without the narrative content of more mainstream films, though the sequencing of events can imply a kind of loose theme or impression of the city's daily life. 

Other noted examples of the genre include Charles Sheeler and Paul Strand's Manhatta (1921), Alberto Cavalcanti's Rien que les heures (1926), Andre Sauvage's Etudes sur Paris (1928), and Dziga Vertov's Man With a Movie Camera (1929). 

 This film represented a sort of break from Ruttmann's earlier "Absolute films" which were abstract. 

Some of Vertov's earlier films have been cited as influential on Ruttmann's approach to this film, and it seems the filmmakers mutually inspired one another, as there exist many parallels between this film and the later Man With a Movie Camera. 

The film displays the filmmaker's knowledge of Soviet montage theory. Some socialist political sympathies, or identification with the underclass can be inferred from a few of the edits in the film, though critics have suggested that either Ruttmann avoided a strong position, or else he pursued his aesthetic interests to the extent that they diminished the potential for political content.

Ruttmann's own description of the film suggests that his motives were predominantly aesthetic: "Since I began in the cinema, I had the idea of making something out of life, of creating a symphonic film out of the millions of energies that comprise the life of a big city."[3] (Wikipedia)

Leitão de Barros - Lisboa, Crónica duma Capital - 1930

 Lisboa, Crónica Anedótica de uma Capital (1930), em que misturou actores conhecidos com a gente da rua, antecipando assim tendências modernas. 

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Publicado em 23/03/2012 por DoctorOjiplatico

+ Info: http://www.doctorojiplatico.com/2012/03/lisboa-cronica-anedotica1930leitao-de...

para: http://www.doctorojiplatico.com/search/label/Sinfon%C3%ADa%20Urbana

Director
José Leitão de Barros

País: Portugal

Idioma: Intertítulos en portugués

Sinopsis: Una historia simple sobre la gente de Lisboa con el sol que baña la ciudad marcando el ritmo del trabajo de sus ciudadanos. Presenta de una manera humorística los barrios y los habitantes de la capital portuguesa.

Sometido a corrección por movimiento de la imagen (Youtube Service)

Dziga Vertov - O Homem com a Câmara de Filmar - (Симфония Донбасса) - 1929

Enviado por llentel em 25/04/2011

"Man with a Movie Camera" is the fourth album by "The Cinematic Orchestra". It is the soundtrack to a re-released version of the (then ground-breaking) 1929 silent documentary film, "Man with a Movie Camera" from Russian director Dziga Vertov.

VUFKU 1929

Enviado por 3ALLFORYOU em 14/07/2011

Man with a Movie Camera (Russian: Человек с киноаппаратом, Chelovek s kinopparatom), sometimes called The Man with the Movie Camera, The Man with a Camera, The Man With the Kinocamera, or Living Russia[1] is an experimental 1929 silent documentary film, with no story and no actors,[2] by Russian director Dziga Vertov, edited by his wife Elizaveta Svilova. Vertov's feature film, produced by the Ukrainian film studio VUFKU, presents urban life in Odessa and other Soviet cities. From dawn to dusk Soviet citizens are shown at work and at play, and interacting with the machinery of modern life. To the extent that it can be said to have "characters," they are the cameramen of the title, the film editor, and the modern Soviet Union they discover and present in the film. 

This film is famous for the range of cinematic techniques Vertov invents, deploys or develops, such as double exposure, fast motion, slow motion, freeze frames, jump cuts, split screens, Dutch angles, extreme close-ups, tracking shots, footage played backwards, stop motion animations and a self-reflexive style (at one point it features a split screen tracking shot; the sides have opposite Dutch angles).  

References

1. ^ List of alternate titles for "Man with a Movie Camera"
2. ^ Dziga Vertov. On Kinopravda. 1924, and The Man with the Movie Camera. 1928, in Annette Michelson ed. Kevin O'Brien tr. Kino-Eye : The Writings of Dziga Vertov, University of California Press, 1995. (Wikipedia)

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