Dziga Vertov o del cinema come assenza

Ontologia del pensiero iconoclasta nel cinema

Ivelise Perniola

pp. 123-135

in: Ontologia del cinema, Rivista di estetica 46, 2011.

Abstract

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).

Cited authors

Vertov Dsiga