As with many of the Kinoks’ films trains often appear in Dziga Vertov’s 1929 masterpiece, ‘Man with a Movie Camera’. Used to create dynamism, criss-crossing the screen, often at dramatic angles, and acting as a counterpoint to previous and following scenes. Train sequences also signpost a journey to Odesa by the eponymous cameraman. The paper…[Read more]

Dziga Vertov’s 1929 masterpiece ‘Man with a Movie Camera’ is a staple of film studies courses and academic papers but there has been no research until now into the important ‘co-stars’ of the film, the movie cameras. This paper discusses in detail the Debrie Parvo and other cameras used by the film’s cinematographer Mikhail Kaufman.

The definitive timeline for the early screening of Dziga Vertov’s 1929 masterpiece has been established for the first time. This illustrated paper looks at the details of the first showing of the film in Kyiv, Kharkiv, Moscow, and Germany. The earliest (pre-release) review of the film in 1928 has been translated into English for the first time,…[Read more]

Following extensive research and detective work, most of the locations used in Dziga Vertov’s 1929 masterpiece have been discovered. Described by leading film academics as ‘extraordinary and exciting research’ and ‘a huge step ahead in knowledge of the film’ the paper describes each location in detail including contemporary and current views. The…[Read more]

In July 1944, the Red Army was advancing through Eastern Poland when they discovered the first traces of the camps. On reaching Lublin they found an enormous compound behind barbed wire in the city’s suburb of Majdanek. Embedded with the Soviet army were film crews, who made the first images of a Nazi camp, among them the “flight survivors” Olga a…[Read more]

CORVIDS * QRt by PRURITUS MIGRANS * CC: BY-NC-SA

CORVIDS * QRt by PRURITUS MIGRANS * CC: BY-NC-SA

This article examines the link posited by Virilio and others between the camera shot and gun shot, arguing that this link operates differently in the context of Soviet vs. Western fantasies of agency, community and technology. Comparing THE LOST PATROL (USA 1934, John Ford) with TRINADTSAT (THIRTEEN, UdSSR 1936, Mikhail Romm), it asks what kind of…[Read more]

QRt is the new pop ARt! – by PRURITUS MIGRANS – CC-BY-NC-ND

QRt is the new pop ARt! – by PRURITUS MIGRANS – CC-BY-NC-ND

Nino Migliori, bolognese classe 1923, è una delle figure fondamentali del panorama fotografico italiano – e non solo – che sin dai primi anni di attività ha saputo dare un contributo profondamente originale a quel dibattito estetico che andava delineandosi negli anni Cinquanta del secolo scorso, bilicato, com’era, tra il formalismo di eredità cr…[Read more]

Mai come in questo periodo così difficile torna attuale il tema del rapporto tra l’uomo e la Natura. Una relazione dinamica e complessa che ha visto nella progressiva emancipazione tecnica dell’essere umano, la necessità dell’altra di essere salvaguardata, conservata e protetta, in un’inesorabile inversione dei ruoli che ha visto l’uomo da…[Read more]

Never more than at the present time, so fraught with difficulty, has the question of mans’s relationship with nature been so topical. A complex, dynamic relationship in which the progressive technical emancipation of man has accompanied a growing need for nature to be safeguarded, preserved and protected – the result of an inexorable inversion of…[Read more]

This paper analyses the sitcom “Friends” (1994-2004) and its performance motifs.

Enjoy Caustic Humour! * Caustic Humour by PRURITUS MIGRANS * CC-BY-NC-SA

Enjoy Caustic Humour! * Caustic Humour by PRURITUS MIGRANS * CC-BY-NC-SA

Analysis of the episode from television series “Buffy the Vampire Slayer”, “Who Are You?” (4.16).

Urban and domestic spaces are at the core of the American film noir developed in the 1940s and 50s. The connection between such spaces and noir cannot be considered only as motivational (an association between city and crime) or protective (a separation between home and violence). The context of this genre must be considered more largely as the…[Read more]

The concept of class has been progressively erased in contemporary discussions around art — and other topics. The explanatory power of this economic and social category, as articulated by Karl Marx, has been annulled precisely at a time when the contradictions of late capitalism are growing, composing an ideological background that creates c…[Read more]

Interview with Catherine Grant about her move to Birkbeck, teaching and research, the project [in]Transition, changes in scholarship, and technology and the humanities.