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A Philosophical History of Documentary, 1895–19591922: Dziga Vertov

A Philosophical History of Documentary, 1895–1959: 1922: Dziga Vertov [In this chapter I introduce the first of two definitions that this volume attributes to the revolutionary documentary work of the Russian Jew David Abelevich Kaufman, better known as Dziga Vertov (1896–1954), canonically acknowledged as the leading documentary forerunner in Soviet Union film history. The chapter abides by the rule of thumb that any historical reading—and, conversely, any contextual analysis and/or philosophical evaluation of Vertov’s mega-project—applies. Specifically, one should never assume or attempt to encompass his entire práxis in one breath. In that vein, the chapter modestly focuses on a rich paragraph from his exceptionally astute debut proclamation “WE: Variant of a Manifesto.” In examining Vertov’s early-career definition of documentary at close range, and through the lens of his neologism (one among many) “Kinochestvo,” I argue that nothing less than an aggressive hermeneutic gesture is required in order to unpack Vertov’s combustive definitional thrust that translates into a complex philosophical line of argumentation. In this context I present the case that Vertov’s early definition relies on and responds to the logic and structure of Hegelian Aufhebung in order to establish his space-time matrix for documentary.] http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png

A Philosophical History of Documentary, 1895–19591922: Dziga Vertov

Geva, Dan
Springer Journals — Sep 16, 2021
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Publisher
Springer International Publishing
Copyright
© The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerland AG 2021
ISBN
978-3-030-79465-1
Pages
93 –100
DOI
10.1007/978-3-030-79466-8_8
Publisher site
See Chapter on Publisher Site

Abstract

[In this chapter I introduce the first of two definitions that this volume attributes to the revolutionary documentary work of the Russian Jew David Abelevich Kaufman, better known as Dziga Vertov (1896–1954), canonically acknowledged as the leading documentary forerunner in Soviet Union film history. The chapter abides by the rule of thumb that any historical reading—and, conversely, any contextual analysis and/or philosophical evaluation of Vertov’s mega-project—applies. Specifically, one should never assume or attempt to encompass his entire práxis in one breath. In that vein, the chapter modestly focuses on a rich paragraph from his exceptionally astute debut proclamation “WE: Variant of a Manifesto.” In examining Vertov’s early-career definition of documentary at close range, and through the lens of his neologism (one among many) “Kinochestvo,” I argue that nothing less than an aggressive hermeneutic gesture is required in order to unpack Vertov’s combustive definitional thrust that translates into a complex philosophical line of argumentation. In this context I present the case that Vertov’s early definition relies on and responds to the logic and structure of Hegelian Aufhebung in order to establish his space-time matrix for documentary.]

Published: Sep 16, 2021

Keywords: WE; Manifesto; Kinochestvo; Art of organizing the necessary movements; Objects; Space; Rhythmical artistic whole; Internal rhythm

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