title: Visual Anthropology of Dziga Vertov
metadata.name: dc.contributor.author
metadata.value: Golovnev, Ivan A.
metadata.lang: -
metadata.name: dc.date.accessioned
metadata.value: 2020-01-17T12:48:24Z
metadata.lang: -
metadata.name: dc.date.available
metadata.value: 2020-01-17T12:48:24Z
metadata.lang: -
metadata.name: dc.date.issued
metadata.value: 2019-12
metadata.lang: -
metadata.name: dc.identifier.citation
metadata.value: Golovnev I. A. Visual Anthropology of Dziga Vertov. Vestnik of Saint Petersburg University. History, 2019, vol. 64, iss. 4, pp. 1386–1403.
metadata.lang: en_GB
metadata.name: dc.identifier.other
metadata.value: https://doi.org/10.21638/11701/spbu02.2019.414
metadata.lang: -
metadata.name: dc.identifier.uri
metadata.value: http://hdl.handle.net/11701/16931
metadata.lang: -
metadata.name: dc.description.abstract
metadata.value: The article, on the example of the classic documentary “The Sixth Part of the World” (1926) by
  the pioneer of Soviet anthropological cinema Dzigi Vertov examines the film-construction of
  the multinational Soviet Union. Analyzing archival data, director’s interviews and contemporary
  testimonies, the author of the article traces the evolution of a film project in connection
  with the processes taking place at that time in society and cinema. In the mid 1920s and early
  1930s filmmakers of the USSR united the peoples of the new country of the Soviets on the
  screen — created the Soviet myth, which the party leadership needed so much. Based on an
  illustrative example of the work of director Dziga Vertov, the titular person in the Russian
  documentary, the article explores the use of the possibilities of cinema: a close-up image of
  the Soviet man as the “builder of communism”, “the master of the sixth part of the world”; in
  general terms — a multinational “friendly country” progressively evolving under socialism.
  Due to the specifics of silent cinema, the film “The Sixth Part of the World” is a kind of cinema
  text, consisting of an approximately equal number of film frames and text captions alternating
  in the narrative. And therefore, the method of analyzing the film as a visual-text work was its
  research decoding — “translation” into text format. The article explores the potential of the
  film as a form of visual anthropology and a multi-component historical source that displays
  the silhouettes of culture and ideology of its time on the screen. The article concludes that
  Dziga Vertov and his film group managed to reflect the spirit of the times, and his creative
  method elevated documentary materials to the level of an artistic image. Cinematic poetry
  and Marxist’s philosophy were merged in this anthropological film.
metadata.lang: en_GB
metadata.name: dc.description.sponsorship
metadata.value: This work was supported by the Russian Foundation for Basic Research (RFBR) as part of project
  No. 18-09-00076 “The traditional Northern communities in ethnographic film”.
metadata.lang: en_GB
metadata.name: dc.language.iso
metadata.value: ru
metadata.lang: en_GB
metadata.name: dc.publisher
metadata.value: St Petersburg State University
metadata.lang: en_GB
metadata.name: dc.relation.ispartofseries
metadata.value: Vestnik of St Petersburg University. History;Volume 64; Issue 4
metadata.lang: -
metadata.name: dc.subject
metadata.value: visual anthropology
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: anthropological film
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: Dziga Vertov
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: national policy
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: USSR
metadata.lang: en_GB
metadata.name: dc.title
metadata.value: Visual Anthropology of Dziga Vertov
metadata.lang: en_GB
metadata.name: dc.type
metadata.value: Article
metadata.lang: en_GB
resources.filename: 1386-1403.pdf
resources.url: https://dspace.spbu.ru/bitstream/11701/16931/1/1386-1403.pdf
resources.format: Adobe PDF
resources.size: 1,37 MB