Update 'content/syllabus/firstsyllabus.md'

content/syllabus/firstsyllabus.md

@@ -13,7 +13,7 @@ Alexander Carson
 
 A sexy reading of *Dziga Vertov’s* ***Man With A Movie Camera*** in which the author explores the parallels between the camera eye of the film and the male sex organ.
 
-Author’s note: I have chosen to insert youtube clips throughout my analysis—this is, after all, an online journal. Man With A Movie Camera has appeared with several different musical scores in recent decades. I have chosen the Cinematic Orchestra version. The reader/viewer should feel free to mute the accompaniment if it seems distracting or undesirable—sound has no bearing on the analysis presented here.<sub>1</sub> Extra Text.
+Author’s note: I have chosen to insert youtube clips throughout my analysis—this is, after all, an online journal. Man With A Movie Camera has appeared with several different musical scores in recent decades. I have chosen the Cinematic Orchestra version. The reader/viewer should feel free to mute the accompaniment if it seems distracting or undesirable—sound has no bearing on the analysis presented here Extra Text.
 
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@@ -35,7 +35,7 @@ Author’s note: I have chosen to insert youtube clips throughout my analysis—
 
 Dziga Vertov’s Man With A Movie Camera (1929), having recently celebrated its 80th anniversary, is a treasure of Soviet cinema. Of all cinema, really. Vertov’s film is a courageous and formidable work in countless respects, well deserving the popular and academic attention it has received throughout its 80 years. It’s fair to argue that such a film is therefore quite undeserving of the sordid analysis presented here. Alas, that argument awaits my critics, and certain viewers who choose to ignore the barefaced and brazen sexual insinuation coursing through this film. My claim here is to present striking parallels between Vertov’s Camera (potent images of a film Camera appear throughout the film, both with and without a camera operator) and the ubiquitous cock in heterosexual, narrative pornographic film. This study will not be limited to a simple Camera-as-Cock comparison, but will also comprise an analysis of Vertov’s depictions of the Camera Operator’s relationship to his hefty tools of empowerment, capture, and ejaculation (the film Camera and the film Projector) in relation to the (generalized) male pornstar’s reliance on his equally essential tool of sexual triumph—the Cock. But let us not rush to penetration before we have set the mood…
 
-Dziga Vertov was a racy figure, both socially and politically; his artistic body of work served principally to advance his contentious ideals. [1] As a teenager, he began writing extensively on the subject of cinema; his poems and manifestos were remarkably confident and sometimes virulent. He unequivocally despised traditional narrative filmmaking and sought to establish a cinematic language independent of literature and theatre (as proclaimed most succinctly in the opening titles of Man With a Movie Camera). An account of Vertov’s writings and contemporary critical responses to his work are found in Yuri Tsivian’s Lines of Resistance, skillfully tracking Vertov’s career through the 1920’s as he built toward realizing Man With A Movie Camera, the pinnacle of his artistic and critical success.
+Dziga Vertov was a racy figure, both socially and politically; his artistic body of work served principally to advance his contentious ideals. [^1] As a teenager, he began writing extensively on the subject of cinema; his poems and manifestos were remarkably confident and sometimes virulent. He unequivocally despised traditional narrative filmmaking and sought to establish a cinematic language independent of literature and theatre (as proclaimed most succinctly in the opening titles of Man With a Movie Camera). An account of Vertov’s writings and contemporary critical responses to his work are found in Yuri Tsivian’s Lines of Resistance, skillfully tracking Vertov’s career through the 1920’s as he built toward realizing Man With A Movie Camera, the pinnacle of his artistic and critical success.
 
 Before leaping into an analysis of Vertov’s chef-d’oeuvre, it is worth noting that the filmmaker’s name (Dziga Vertov) is an adopted one. Born Denis Kaufman, he assumed the name Dziga Vertov as a tribute to the medium he championed so fervently. “Dziga Vertov, adopted at the very threshold of his working life, is derived from the verb which means to spin or rotate; the onomatopoeia of the first name, as Vertov intimated, reproduces the repetitive sound of a camera crank turning (dziga, dziga, dziga…)” writes Annette Michelson in her introduction to Kino-Eye. [2] Evidently Vertov believed in the supreme power of cinema, and accordingly changed his name to reflect his worship of the craft. The same spirit of devotion that inspired Vertov in the 1920’s would spur on the famous Cocksmen of narrative pornography’s “golden age” in the 1970’s. Many leading porn actors and filmmakers of this period assumed names that similarly announced a passionate commitment to their métier—Dick Nasty, Long Dong Silver, and Dale DaBone are fine examples of noms de guerre employed in this respect.
 
@@ -71,7 +71,7 @@ This section covers roughly minutes 60-68 of the complete film: https://www.yout
 
 Footnotes
 
-1 Tsivian, Yuri. Lines of Resistance (p.5-14). In his introduction, Tsivian provides a concise account of Vertov’s ideologies and prinicipal grievances, including his feuds with popular Marxist thinkers and publishers, as well as celebrated Soviet filmmaker Sergei Eisenstein.
+[^1]: Tsivian, Yuri. Lines of Resistance (p.5-14). In his introduction, Tsivian provides a concise account of Vertov’s ideologies and prinicipal grievances, including his feuds with popular Marxist thinkers and publishers, as well as celebrated Soviet filmmaker Sergei Eisenstein.
 
 2 Michelson, Annette. Kino-Eye (p. xviii)
 
@@ -108,6 +108,3 @@ Alexander Carson is a narrative artist, filmmaker, and occasional scholar. Some
 
 Edited by Lindsey Campbell
 
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