Les transferts culturels et les éléments de la culture religieuse dans films de Dziga Vertov, 1920-1930

Целлулоидный иконостас, или «Уже написан Вертов»…

Aleksandr Musin (1, 2)

1 Institut pour l’histoire de la culture matérielle, Académie des sciences de Russie
2 CRAHAM - Centre Michel de Boüard - Centre de recherches archéologiques et historiques anciennes et médiévales

The article interprets the creativev activity of Dziga Vertov and that of “Kinoglaz” in the categories of Orthodox religious culture. The reinterpretation the Russian revolution as a traditionalist socio-political turn is argued. The construction of a new cultural system and ideology was based on the exploitation and reinterpretation of Orthodox images and rituals. The new cultural activity is regarded not as primitive and artificial propaganda, but as cultural transfers. The development of visual images assumed both the use of methods of traditional icon painting and the iconization of new aesthetics. Vertov’s personal drama consisted of a conscious rejection of the further individual development of his own iconology and the submission of personal creativity to the state order. This decision was made due to his ascetic motivation, which had religious significance for Vertov

Mots clés: Russian revolution; Dziga Vertov; cultural transfers; religious text; Orthodox ritual; icon; cinema

Domaines: Sciences de l'Homme et Société; Religions; Histoire; Anthropologie sociale et ethnologie; Art et histoire de l'art

Aleksandr Musin. Целлулоидный иконостас, или «Уже написан Вертов»…. Кинема [Kinema], 2020, 1, pp.110-125. ⟨hal-03174175⟩