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In 1922 he launched the onscreen magazine "Kino-Pravda," and by 1925 had filmed 23 episodes exploring a dramatic new form of reportage in which he used montage to defy time and space, sometimes incorporating dynamic intertitles by Aleksandr Rodchenko.
The poetic power of the film, however, had a lot to do with the cinematography of the Russian-born Boris Kaufman, who worked on each of Vigo’s films and was said to be the youngest brother of Dziga Vertov, and a collaborator with him on the famous Kino-Pravda films.
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