The second short story workshop started to explore the rocky terrain of point of view – magic when it works, a nightmare when it doesn’t!
I always think of POV exercises asking us to identify the person holding the camera, hence the pics for this month’s blog.
The main picture has a fascinating history – taken by Dziga Vertov in 1929, in «Man with a Movie Camera», the eye and the lens are superimposed | © Dziga Vertov
The film, «The Man With Movie Camera,» originally known as «CELOVEK S KINOAPPARATOM,» attempts to cinematically reproduce visual appearances without the help of subheadings (a film without subheadings), a script (a film without a script), or any theatrical means (a film without actors and stage design).
This new, experimental work, «Kinoglaz,» focuses on the creation of an authentic, international language of film, on an ‹absolute cinematography,› and on decisively separating film from theater and literature. No differently than in «The Eleventh Year,» the film «The Man With Movie Camera» likewise comes close to embracing the «Radioglaz» period, and advocates of «Kinoglaz» define it as being a new and higher developed stage of the non-film.
Dziga Vertov, 1928
(source: Wolfgang Beilenhoff (eds.), Dziga Vertov, «Schriften zum Film», Carl Hanser Verlag, Munich, 1973, p. 117.)http://www.medienkunstnetz.de/works/der-mann-mit-derkamera/
Sounds like there could be a story there!