Dziga Vertov o del cinema come assenza
Ontologia del pensiero iconoclasta nel cinema
pp. 123-135
Résumé
The entire work of Dziga Vertov can be read as a continuous attempt to transform cinema from a visual art to an antivisual art, an art ontologically iconoclast. In this essay I will try to develop this underestimated key of reading Vertov’s oeuvre. His iconoclasm is developed in two lines, the first one is technical and the second one is theoretical. In this essay we will deepen these two lines, starting from Vertov’s writings and from is best-known film, The Man with the Movie Camera (1929).
Détails de la publication
Publié dans:
(2011) Ontologia del cinema. Rivista di estetica 46.
Pages: 123-135
Citation complète:
Perniola Ivelise, 2011, Dziga Vertov o del cinema come assenza: Ontologia del pensiero iconoclasta nel cinema. Rivista di estetica 46, Ontologia del cinema, 123-135. https://doi.org/10.4000/estetica.1643.