Down with the bourgeois imagination and its fairytales Long live everyday life

Down with the bourgeois imagination and its

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Down with the bourgeois imagination and its fairytales! Long live everyday life! Film drama and religion are deadly weapons in the hands of the capitalists. Only through showing our revolutionary daily life do we strike the weapon from the enemy’s hand. The modern art -drama is a relic of the old world. It is an attempt to press our revolutionary reality into reactionary forms! (kay Le Grice 55)
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26 Bilang sagot sa cinema ng mga burgis, binuo ni Vertov ang grupo ng Kino-Eye. Tinawag niya ang mga filmmaker ng Kino-Eye bilang Kinoks. Ang Kino-Eye ay isang pagkilos na siyang lalaban sa baluktot na ideolohiya ng naghaharing uri (Vertov 83). Sa umpisa ay ang documentary film ang ginamit ni Vertov at ng kanyang Kino-Eye upang labanan ang fiksyonal na pelikula, pero sa kalaunan ay unti-unting lumabas na ang pakay talaga ni Vertov ay pag-eksperimentuhan ang midyum ng pelikula upang makahanap ng alternatibong uri ng pelikula na kontra sa mainstream. Ayon kay Malcolm Le Grice: “He (Vertov) knew that his task was a practical one – to establish a strong new form and this meant experiment with the means and functions of cinema […] The strength of his polemical statements should not be seen to imply a rigid dogmatism in their practical application, since experiment was essential to the discovery o f new forms” (57). Ang eksperimentong ito ang siyang nagbunga sa kanyang obra maestra, ang The Man with the Movie Camera (1929). Kitang-kita ang eksperimentasyong ginawa ni Vertov sa pelikulang ito lalo na sa mga nakasanayang kumbensyon sa editing o pagput ol ng pelikula. Ayon nga sa kritikong si Christopher Williams: “Vertov’s methods in filmmaking rested on a combination of observation of visible ‘realities’ and the reorganization of these observations by editing” (29). Samakatuwid, ang kanyang pelikula, b agamat maituturing na isang dokumentaryo, ay hindi sumasailalim sa klasikal na depinisyon nito. Ito ang nagbigay-buhay sa konsepto ng Kino-Eye. Dala na rin siguro ng paglaganap ng sosyalismo sa Europa, nagkaroon ng kani-kanilang bersyon ng indie-alternatibong pelikula ang maraming bansa sa naturang kontinente. Sa Italya, ang henerasyon nina Vittorio de Sica, Roberto Rosellini at Cesare Zavattini na naging saksi sa pambobomba sa Roma ng mga Allied Forces at tuluyang pagkawasak nito noong Ika-2 Digmaang Pandaigdig ang nagtaguyod sa tinatawag na Neorealismo o makabagong uri ng realismo. Tulad ni
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27 Vertov, inialay nina de Sica ang kanilang pelikula sa masa. Ang manunulat na si Zavattini ang kanilang naging prominenteng tagapagsalita. Sa isang manifesto na sinulat niya noong 1953, sinabi niya: I am bored to death with heroes more or less imaginary. I want to meet the real protagonists of everyday life and I want to speak to him […] I am against ‘exceptional’ personages. The time has come to tell the audience that they are the true protagonists of life. The result will be a constant appeal to the responsibility and dignity of every human being […] We must identify ourselves with what we are. The world is composed of people thinking of myths. (kay Williams 30)
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