영화와 구성주의- 러시아 구성주의와 <카메라를 든 사나이> -

Abstract

The Term as 'Constructivism' have used in different studies as various means. In this paper, it is restricted that the meaning of ‘Constructivism’ to around 1920's Russian trend of art. In the beginning, Constructivism came from Russian artists. Tatlin, as the most important constructivist in 1920's Russian art, made specific rules of constructivism. And in the theater, Meyerhold took over it and developed the theory. Both in the art and in the theater, constructivism has several common characters and they are applied to constructivism of film. Constructivist film regards the film as a united synthesis and constructivist directors arrange fragments of the films according to their intention. And it makes spectators understand the film grasping the internal metaphor and symbol which are included in image and rhythm of frames. One of the best film of Vertov's, <The Man With the Movie Camera> represents Russian Constructivist film. This paper offers universalities and specificities of constructivist film comparing with constructivism on the other arts analyzing <The Man With the Movie Camera>. The most important point that we should notice about consturctivist film is what the film can do as social and political aspects. Apparently, in 1920's, Russia film did very important role as a method to spread the certain political philosophy. Constructivist film directors in those days also had their own theory about film and society. And it had been revealed automatically to their films. The reason why we should consider constructivist films in these days is that we live in the age of which theory is completely separated from reality. It's not desirable at all and artist and scholars have to try make them organic. In conclusion, this paper intended to define constructivism of film through analyzing Vertov's <The Man With the Movie Camera>, and find its significances on the history of cinema.