From 522009be7031db13be30a9eb8a7d05a0d441f766 Mon Sep 17 00:00:00 2001 From: "Teagan C. Lance" Date: Wed, 8 Sep 2021 11:39:26 -0700 Subject: [PATCH] Update 'content/syllabus/firstsyllabus.md' --- content/syllabus/firstsyllabus.md | 12 ++++++------ 1 file changed, 6 insertions(+), 6 deletions(-) diff --git a/content/syllabus/firstsyllabus.md b/content/syllabus/firstsyllabus.md index 27456c7..aa5b309 100644 --- a/content/syllabus/firstsyllabus.md +++ b/content/syllabus/firstsyllabus.md @@ -21,12 +21,12 @@ Author’s note: I have chosen to insert youtube clips throughout my analysis—
-1. Odessa - 1. The Steps -1. Manifesto - 1. Word - 1. Dziga - 1. Test +> Odessa +> The Steps +> Manifesto +> Word +> Dziga +> Test 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…