![]() ![]() ![]() Parallels between the nature and use of technologies and how this affected creative outputs, will also be discussed, as will the relationship of the British documentary movement's practice and ideas to post-Schaefferian 'anecdotal music' and the work of Luc Ferrari.Film Editing as Women’s Work: Ėsfir’ Shub, Elizaveta Svilova, and the Culture of Soviet Montage Author Lilya Kaganovsky keywords Ėsfir’ Shub Elizaveta Svilova Soviet Union montage editing feminist film history women’s cinema Table of contents yes ![]() Case studies will focus on the groundbreaking soundtracks of two films made by the General Post Office Film Unit that feature both practical and theoretical correspondences to Schaeffer: 6.30 Collection (1934) and Coal Face (1935). The theoretical and philosophical underpinnings of the documentary movement's members, particularly their leader John Grierson, will be compared with those of Pierre Schaeffer, and the important influence of Russian avant-garde filmmaking on the British (and musique concrète) will be addressed. The main focus of the article is on the innovations within documentary film and specifically the sonic explorations in early British documentary that prefigured musique concrète, an area ignored by electronic music studies. This article challenges this narrative by drawing attention to the work of filmmakers in the 1930s that foreshadowed the sound experiments of Pierre Schaeffer and thus offers an alternative history of their background. Standard histories of electronic music tend to trace the lineage of musique concrète as lying mainly in the Futurists' declarations of the 1910s, through Cage's 'emancipation' of noise in the 1930s, to Schaeffer's work and codifications of the late 1940s and early 1950s. ![]() In addition, it aims to demonstrate how novel architectural types, such as the worker's club, pull together the urban and social fabric of his filmic city. In particular, this paper discusses the relationship between private space and public space, aswell as the new role industry and infrastructure assumed in the construction of Vertov‟s urban cinematic utopia. This is considered in parallel with the study of theories of city-planning, especially the urbanist-deurbanist dispute, with special focus on the interpretation of Marxist doctrines about the city. Punctus-contra-punctum montage – a working definition for atechnique that exploits analogies in form or content between adjacent clips – and Lev Kuleshov's artificial landscapes – the consistent filmic landscapes composed of movingimages – offer a way of producing meaningful thematic sequences. The shot-by-shot formalist analysis of Vertov‟s film – conducted as part of an on-going doctoral research project at the University of Cambridge – highlights two termsspecific to cinema, which play a central role in the construction of Vertov‟s vision of collective happiness. Dziga Vertov‟s Man with the Movie Camera (USSR, 1929), a film that epitomises thecharacteristics of this genre, acts as a concrete and particular example of an attempt toconstruct a cinematic image of the ideal socialist city of the future, through the depiction of contented citizens in the act of 'building Socialism in one country'. Such formalistic experimentationwith the iconography of urban landscapes is generically referred to as City Symphonies. In the 1920s fascination with the city resulted in an unprecedented increase in movingimage works that encapsulated the dynamics of modernity. ![]()
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