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En 1928, un opérateur sillonne les rues d'une ville russe. Il filme trams, voitures, machines, passants, ouvriers, sportifs. Il traque les moments d'itimité, de labeur et de loisir. Les séquences sont reprises par la monteuse dans la salle de travail. Des spectateurs émerveillés assistent à la projection du film. Dziga Vertov, réalisateur d'avant-garde, refusant tout scénario et tou intertitre, montre l'opérateur et la monteuse à l'oeuvre, et le fruit de leur art. "L'homme à la caméra" est un film sur le cinéma [...]. L'ouvrage se propose d'analyser l'oeuvre selon trois axes parfois noués. le rapport entre cinéma et politique à l'époque de la révolution russe. la lecture formelle du film, innovant en matière de montage, de rythme et d'usage des procédés cinématographiques. La façon dont Vertov atteint la "vie en elle-même", dans ses dimensions les plus diverses, individuelle et collective, biologique, existentielle, historique.

Motion pictures --- Cinéma --- Philosophy --- Philosophie --- Vertov, Dziga, --- Chelovek s kinoapparatom (Motion picture) --- Critique et interprétation --- Čelovek s kino-apparatom (film) --- Cinéma --- Vertov, Dziga --- Critique et interprétation.

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Vertov, Snow, Farocki: Machine Vision and the Posthuman' begins with a comprehensive and original anthropological analysis of Vertov's film The Man With a Movie Camera. Tomas then explores the film's various aspects and contributions to media history and practice through detailed discussions of selected case studies. The first concerns the way Snow's La Region Centrale and De La extend and/or develops important theoretical and technical aspects of Vertov's original film, in particular those aspects that have made the film so important in the history of cinema. The linkage between Vertov's film and the works discussed in the case studies will also serve to illustrate the historical and theoretical significance of a comparative approach of this kind, and illustrate the pertinence of adopting a 'relational approach' to the history of media.

Experimental films --- Video installations (Art) --- Film installations (Art) --- History and criticism --- History and criticism. --- Vertov, Dziga --- Snow, Michael, --- Farocki, Harun --- Criticism and interpretation. --- Chelovek s kinoapparatom (Motion picture) --- Vertov, Dziga,

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Vertov, Snow, Farocki: Machine Vision and the Posthuman begins with a comprehensive and original anthropological analysis of Vertov's film The Man With a Movie Camera. Tomas then explores the film's various aspects and contributions to media history and practice through detailed discussions of selected case studies. The first concerns the way Snow's La Region Centrale and De La extend and/or develops important theoretical and technical aspects of Vertov's original film, in particular those aspects that have made the film so important in the history of cinema. The linkage between Vertov's film and the works discussed in the case studies will also serve to illustrate the historical and theoretical significance of a comparative approach of this kind, and illustrate the pertinence of adopting a 'relational approach' to the history of media and its contemporary practice, an approach that is no longer focused exclusively on the technical question of the new in contemporary media practices but, in contrast, situates a work and measures its originality in historical, intermedia, and ultimately political terms.

Film --- Aesthetics of art --- Farocki, Harun --- Vertov, Dziga --- Snow, Michael --- Experimental films --- Video installations (Art) --- Film installations (Art) --- Films expérimentaux --- Installations vidéo (Art) --- Installations filmiques (Art) --- History and criticism. --- Histoire et critique --- Vertov, Dziga, --- Snow, Michael, --- Criticism and interpretation. --- Criticism and interpretation --- Chelovek s kinoapparatom (Motion picture) --- film --- twintigste eeuw --- filmtheorie --- kunsttheorie --- cultuurfilosofie --- posthumanisme --- eenentwintigste eeuw --- Vertov Dziga --- Snow Michael --- Farocki Harun --- experimentele film --- video --- videokunst --- video-installaties --- 7.01 --- 7.036/039 --- 791.43 --- 791.41 --- Films expérimentaux --- Installations vidéo (Art) --- Screen-reliant installations (Art) --- Installations (Art) --- Video art --- Motion pictures --- History and criticism --- Kaufman, Denis Arkadʹevich, --- Wertow, Dsiga, --- Kaufman, Dionigin Arkadievitch, --- Kaufman, David Abelevich, --- Kaufman, Denis Abramovich, --- Вертов, Дзига, --- Кауфман, Денис Аркадьевич, --- Кауфман, Давид Абелевич, --- Кауфман, Денис Абрамович, --- Faroqhi, Harun El Usman --- Человек с киноаппаратом (Motion picture) --- Man with the movie camera (Motion picture) --- Man with movie camera (Motion picture) --- Man with a movie camera (Motion picture) --- Homme à la caméra (Motion picture) --- Chelovek kino-apparatom (Motion picture) --- Человек кино-аппаратом (Motion picture)