V-v-Vertov R-r-Re-made

Aktivitet: Tale eller præsentationForedrag og mundtlige bidrag

Se relationer på Aarhus Universitet

Jan Løhmann Stephensen - Foredragsholder

In 2007, Perry Bard launched a participatory online movie project entitled Man With a Movie Camera: The Global Remake, which, as the title implies, is a remake of Dziga Vertov’s Man With a Movie Camera (1929). In this seminal work, Vertov attempted to forge a new international language of pure visual communication, Absolute Kinography, by purging the movie from all the conventions that belonged to older art forms and their related media. Instead, Vertov in a highly exploratory way sought to replace these conventions with new means of communication (montage, innovative camera work, etc.), ultimately aiming to optimize both the art of “decoding life as it is” and the transference of this flow of information onto the viewer. According to Lev Manovich, the efforts by Vertov and like-minded avant-garde artists in time turned out to be the building blocks of new media and its so-called computer culture, as we know it.

In this paper we will discuss, what this contemporary new media remaking of Man With a Movie Camera means in a more detailed perspective, and which aspects are left out. What, for instance, happens to the aesthetic dimensions of the original, which inevitably becomes part of the movie’s formalistic/communicative experiments, when the aim of the art project now seems less an attempt to forge a new visual language, than an attempt to orchestrate – or perhaps merely demonstrate — a new social organization of the very production of art under the banners of remixing, participation, global-networking (cf. Manovich, Deuze, Jenkins, etc.).
11 dec. 2012

Begivenhed (Konference)

TitelAesthetics Reloaded
AfholdelsesstedAarhus University


  • Vertov, avantgarde film, Perry Bard, netkunst, remediering

ID: 51442223