Author: Mjolsness, Lora Wheeler

Source: Studies in Russian & Soviet Cinema, Volume 2, Number 3, October 2008 , pp. 247-267(21)

Publisher: Intellect

Abstract:

Dziga Vertov is often described as an avant-garde artist, a film poet and a documentary film-maker; only rarely is he described as an animator. Drawing on the definition of animation by Norman McLaren, this article suggests a possible re-examination of Vertov's early work in terms of animation history. If we allow that the essence of animation is what lies between the frames of the film, then we can see the parallels between animation and the between-the-frame issues that occupied Vertov in his film theory, in his technique and in his film production. My argument concentrates on Vertov's early work in Kinopravda, and also his fully animated film, Soviet Toys (Sovetskie igrushki, 1924). This article considers Vertov's use of theory and techniques, which link Soviet Toys to Kinopravda as well as his use of political events in Soviet Toys inspired by the political cartoonist Viktor Deni. Examining Vertov's animated film provides a deeper understanding of Vertov's early work and also a more thorough understanding of the nexus between 1920s politics and agitational journalism and advertising highlighted in Soviet Toys.

Keywords: Dziga Vertov; animation; Soviet Toys; Viktor Deni; advertisement; agitational journalism

Document Type: Research article

DOI: http://dx.doi.org/10.1386/srsc.2.3.247_1

Affiliations: 1: University of California at Irvine.

Publication date: 2008-10-07

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• Studies in Russian & Soviet Cinema focuses on pre-revolutionary, Soviet and post- Soviet film, its aesthetic development, and its position between ideology and industry. SRSC invites contributions that constitute original research. The journal seeks to promote research from established scholars as well as to encourage researchers new to the field.
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