Odinnadtsatyy (Dziga Vertov, 1928) DVDRip VOSE

[V]

Copia compartida por VictorPlastic en karagarga.
Odinnadtsatiy, Odinnadcatyj, The Eleventh Year, Одиннадцатый, Дзига Вертов

Odinnadtsatyy
El undécimo año
(Dziga Vertov, 1928)


IMDb

Comentario

THE ELEVENTH YEAR is a "celebration film" of the 11th year following the October Revolution. According to Vertov it was a "summary film" of a "new visuality." In The Eleventh Year, the rhythmic montage of mostly static shots in his previous film A Sixth Part of the World, has been replaced by the lyrical, dynamic flow of moving shots. In several cases these images attain iconic status (as, for example, the bust of Lenin projected upon gushing water), but often they refer simply to the pure visuality of movement. Spectacular photography and experimental super-impositions constitute a "layered space." If in A Sixth Part of the World, the leitmotif was the topoi of wiring and networking, here the anthem for the industrialization of the Ukrainian SSR is exemplified by the hydroelectric stations of the Dnepr and Volchov rivers, suggesting that superimposition, overlap and transmission are the basic elements of the circular flow of energy. From a single idea--the rise of electric force--two separate readings develop: an in-depth economic archaeology of human history or a radical formalist study of self-contained signifying units. 10,000 people saw The Eleventh Year on its first 3 days of release. Today, it is rarely seen. The discovery of its lost finale is a historical moment.

Entrevista a Dziga Vertov

Spoiler: mostrar

Question: Is it not true that certain shots in The Eleventh Year depend on symbolism?

D Vertov: No. We do not depend on symbolism. If it transpires that certain shots or montage phrases
achieve, in the process of being perfected, the signficance of symbols, this does not make us panic
and eject them from the film. We think that a symbolic film and shots constructed according to the
principle of expediency but aquiring the significance of symbols are quite distinct concept.

Question: Why do you employ complex shots, cinephotomontage?

D Vertov: We resort to complex shots either in order to indicate simultaneity of action or to distnguish
a detail from the general film image or to contrast two or more facts. Explanations asserting that this
method is a stunt do not correspond to reality.

Question: Do you not think that the first few reels are better edited than the last?

D Vertov: In the last few days this question has been asked with particular frequency. The impression
is deceptive. The first reel is obviously made on an easier level of visual perception. The fourth and fifth
reels are constructed in a more complex manner. There is much greater montage ingenuity in them than
in the first two: they look to the future of cinema more than the second and third reels do. I should say
that the fourth and fifth reels stand in the same relationship to the first reels as a university does to a
midle school. It is natural that more complex montage should force the audience to exercise more effort
and should require particular concentration to be perceived.

Question: Was The Eleventh Year made without a script?

D Vertov: Yes, like all Cine-Eye films, it was made without a script. You are aware that our numerous opponents,
speculating about our rejection of scripts, have tried to suggest that we are generally opposed to planned work.
Nonetheless, and despite these existing misconceptions, the Cine-Eyes devote more effort and attention to their
preparatory plans than do those who work in played films. Before we start work we study our particular theme
extremely carefully in all its manifestations, we study the literature on this particular question, we use every
source available to ensure that we can represent the matter as clearly as possible. Before we start shooting
we devise a thematic plan, an itinerary and a shooting diary. How do these differ from a script? By the fact that
all this is a plan for the actions of a camera bringing a particular theme to life and not a plan to stage the same
theme. What distinguishes a plan to shoot a real battle from a plan to stage a number of individual battle scenes?
This is roughly the difference between a Cine-Eye plan and a script in fiction cinema.

Question: The last question concerns intertitles and many comrades put it like this: How do you explain the
abundance of titles in A Sixth Part of the World and their lack in The Eleventh Year?

D Vertov: In A Sixth Part of the World we were dealing with the experiment of taking the titles beyond their
parentheses by creating a specific 'word-theme' series. In The Eleventh Year the 'word-theme' has been
eradicated and the meaning of the titles has been reduced practically to nothing. The film is constructed by
interweaving film phrases without using titles. The titles in The Eleventh Year have almost no meaning.
Which is better? The first experiment - or the second? I think that both experiments - both the creation
of a 'word-theme' and its eradication - are equally important and have very great significance both for
the Cine-Eyes and for the whole of Soviet cinema.

Datos técnicos

A partir del DVD de Edition Filmmuseum:

Código: Seleccionar todo

Odinnadtsatyy.avi
Tamaño....: 681 MB (or 697,832 KB or 714,579,968 bytes)
------------------ Video ------------------
Codec.....: XviD
Duración..: 00:52:49 (79,232 fr)
Resolución: 656x464 (1.41:1) [=41:29]
Bitrate...: 1801 kb/s
FPS.......: 25.000
------------------ Audio ------------------
Codec.....: No Audio Channels
Bitrate...: n.a.

Capturas

Enlace a la película

Odinnadtsatyy (Edition Filmmuseum DVDRip).avi

Subtítulos

En castellano (traducción amateur del inglés)

En inglés

Otras versiones en DXC

Odinnadtsatyy (Dziga Vertov, 1928) VHSRip VO

Más carteles

Dedicada a quien me recuerde el disco (de hardcore ochentero, creo) que tiene el cartel rojo como portada.

Recomendada a quienes no les guste Chelovek s kino-apparatom.

[marlowe62]

Recomendada a quienes no les guste Chelovek s kino-apparatom.

Al primero/a que de señales de vida en tal sentido le practico un montaje paralelo en zig-zag de los esquizoides del frenillo sin reparar en gastos.

Gracias por traerla, V.

PD. jm, acabo de enviar a Silente el VHSRip.

[jm1983]

Muchas gracias por traer esto V, pinchada de inmediato ¿Los subs son de tu autoría?

En el mismo DVD del que procede este rip también viene "La sexta parte del mundo". Quizás llegue pronto a la mulita una copia de calidad de este otro Vertov.

Marlowe: Gracias por el pase

[V]

Al primero/a que de señales de vida en tal sentido le practico un montaje paralelo en zig-zag de los esquizoides del frenillo sin reparar en gastos.

Ahí, ahí, asustando al personal al modo soviético-vanguardista.

¿Los subs son de tu autoría?

Sí. No me he encontrado con demasiadas complicaciones (por eso los he traducido, claro). De todas maneras, tienen fácil revisión. En inglés son unas 75 líneas y en castellano entre que no he incluido los créditos ni un par de palabros rusos no traducidos al inglés (¿ДНЕПРОСТРОЙ = Dniéper-mordaz?...) se han quedado en unas 65.

En el mismo DVD del que procede este rip también viene "La sexta parte del mundo". Quizás llegue pronto a la mulita una copia de calidad de este otro Vertov.

Si no lo llegas a decir ni me entero de que ya la tengo. Sí, puede que llegue pronto.

[batallans]

¿La anti- Chelovek s kino-apparatom?
Uhm... Muchísimas gracias.

[V]

¿La anti- Chelovek s kino-apparatom?

No... pero las veo lo suficientemente diferentes para que si una no te ha gustado no te tire para atrás ver la otra. El hombre de la cámara trata sobre el hombre de la cámara, mientras que ésta tiene un propósito documental más evidente, aun manteniendo montajes paralelos en zigzag muy conseguidos.

Pero yo venía aquí a traer malas noticias y es que mi ordenador parece haber dicho basta, con lo que la distribución queda interrumpida unos días (a menos que alguien emulice la copia de KG).

[jm1983]

Acabo de poner una copia en el incoming para completar la distribución

[David_Holm]

Gracias V (especialmente por esos subs) y jm, me uno ahora.

[kabuki]

Me la descargo con subtítulos incluidos.
Muchas gracias,V.

[pochutla]

Muchas gracias V por esta eccelente presentación y por traer esta peli aquí

[karma7]

Extraordinario manejo de las cámaras, casi mejor que yo, jijiji, ya la tenía pero muy recomendable.

[Goran de Angelis]

http://picasaweb.google.com/Goran.de.An ... 7510925362