- Title Pages
- Illustrations
- Acknowledgements
- Introduction: What are Arctic Cinemas?
-
Part 1 Global Indigeneity -
1. ‘Who Were We? and What Happened to Us?’: Inuit Memory and Arctic Futures in Igloolik Isuma Film and Video -
2. Northern Exposures and Marginal Critiques: The Politics of Sovereignty in Sámi Cinema -
3. Frozen in Film: Alaska Eskimos in the Movies -
4. Cultural Stereotypes and Negotiations in Sámi Cinema -
5. Cinema of Emancipation and Zacharias Kunuk’s Atanarjuat: The Fast Runner -
6. Cosmopolitan Inuit: New Perspectives on Greenlandic Film -
7. Arctic Carnivalesque: Ethnicity, Gender and Transnationality in the Films of Tommy Wirkola -
Part II Hollywood Hegemony -
8. Fact and Fiction in ‘Northerns’ and Early ‘Arctic’ Films -
9. California’s Yukon as Comic Space -
10. ‘See the Crashing Masses of White Death …’: Greenland, Germany and the Sublime in the ‘Bergfilm’ SOS Eisberg -
11. The Threat of the Thaw: The Cold War on the Screen -
12. Hollywood Does Iceland: Authenticity, Genericity and the Picturesque -
13. White on White: Twenty-First-Century Norwegian Horror Films Negotiate Masculinist Arctic Imaginaries -
Part III Ethnography and the Documentary Dilemma -
14. The Creative Treatment of Alterity: Nanook as the North -
15. From Objects to Actors: Knud Rasmussen’s Ethnographic Feature Film The Wedding of Palo -
16. Arctic Travelogues: Conquering the Soviet North -
17. A Gentle Gaze on the Colony: Jette Bang’s Documentary Filming in Greenland 1938–9 -
18. Exercise Musk-Ox: The Challenges of Filming a Military Expedition in Canada’s Arctic -
19. The Tour: A Film About Longyearbyen, Svalbard. An Interview with Eva la Cour -
Part IV Myths and Modes of Exploration -
20. The Changing Polar Films: Silent Films from Arctic Exploration 1900–30 -
21. The Attractions of the North: Early Film Expeditions to the Exotic Snowscape -
22. Frozen in Motion: Ethnographic Representation in Donald B. MacMillan’s Arctic Films -
23. ‘My Heart Beat for the Wilderness’: Isobel Wylie Hutchison, Jenny Gilbertson, Margaret Tait and Other Twentieth-Century Scottish Women Filmmakers -
24. ‘Here will be a Garden-City’: Soviet Man on an Arctic Construction Site -
25. Transcending the Sublime: Arctic Creolisation in the Works of Isaac Julien and John Akomfrah -
26. DJ Spooky and Dziga Vertov: Experimental Cinema Meets Digital Art in Exploring the Polar Regions - Notes on the Contributors
- Index
DJ Spooky and Dziga Vertov: Experimental Cinema Meets Digital Art in Exploring the Polar Regions
DJ Spooky and Dziga Vertov: Experimental Cinema Meets Digital Art in Exploring the Polar Regions
- Chapter:
- (p.335) 26. DJ Spooky and Dziga Vertov: Experimental Cinema Meets Digital Art in Exploring the Polar Regions
- Source:
- Films on Ice
- Author(s):
Daria Shembel
- Publisher:
- Edinburgh University Press
This chapter by Daria Shembel examines the montage-based filmmaking practice of Soviet director Dziga Vertov, his theory of the Kino-eye, and how Vertov’s principles have been remediated through Paul D. Miller, aka DJ Spooky. Shembel puts this practice in productive tension with the recent work of DJ Spooky, and how Vertov’s proto-digitality techniques greatly inspired contemporary multimedia artist Spooky in his Antarctic and Arctic projects. Paying particular attention to Vertov’s film A Sixth Part of the World (1926), Shembel delineates the parallels between Vertov’s practices and that of DJ Spooky’s multi media project Kino-Glaz/Kino Eye (2009) his Antarctica project The Book of Ice (2001). Shembel argues that Vertov’s practice foreshadows digital platforms and traces the ways in which digital media can be seen as the logical outcome of Vertov’s work.
Keywords: DJ Spooky, Dziga Vertov, A Sixth Part of the World, Kino Pravda, Arctic Rhythms: Ice Music, Gostorg, The Book of Ice, Kino-Glaz/Kino Eye
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- Title Pages
- Illustrations
- Acknowledgements
- Introduction: What are Arctic Cinemas?
-
Part 1 Global Indigeneity -
1. ‘Who Were We? and What Happened to Us?’: Inuit Memory and Arctic Futures in Igloolik Isuma Film and Video -
2. Northern Exposures and Marginal Critiques: The Politics of Sovereignty in Sámi Cinema -
3. Frozen in Film: Alaska Eskimos in the Movies -
4. Cultural Stereotypes and Negotiations in Sámi Cinema -
5. Cinema of Emancipation and Zacharias Kunuk’s Atanarjuat: The Fast Runner -
6. Cosmopolitan Inuit: New Perspectives on Greenlandic Film -
7. Arctic Carnivalesque: Ethnicity, Gender and Transnationality in the Films of Tommy Wirkola -
Part II Hollywood Hegemony -
8. Fact and Fiction in ‘Northerns’ and Early ‘Arctic’ Films -
9. California’s Yukon as Comic Space -
10. ‘See the Crashing Masses of White Death …’: Greenland, Germany and the Sublime in the ‘Bergfilm’ SOS Eisberg -
11. The Threat of the Thaw: The Cold War on the Screen -
12. Hollywood Does Iceland: Authenticity, Genericity and the Picturesque -
13. White on White: Twenty-First-Century Norwegian Horror Films Negotiate Masculinist Arctic Imaginaries -
Part III Ethnography and the Documentary Dilemma -
14. The Creative Treatment of Alterity: Nanook as the North -
15. From Objects to Actors: Knud Rasmussen’s Ethnographic Feature Film The Wedding of Palo -
16. Arctic Travelogues: Conquering the Soviet North -
17. A Gentle Gaze on the Colony: Jette Bang’s Documentary Filming in Greenland 1938–9 -
18. Exercise Musk-Ox: The Challenges of Filming a Military Expedition in Canada’s Arctic -
19. The Tour: A Film About Longyearbyen, Svalbard. An Interview with Eva la Cour -
Part IV Myths and Modes of Exploration -
20. The Changing Polar Films: Silent Films from Arctic Exploration 1900–30 -
21. The Attractions of the North: Early Film Expeditions to the Exotic Snowscape -
22. Frozen in Motion: Ethnographic Representation in Donald B. MacMillan’s Arctic Films -
23. ‘My Heart Beat for the Wilderness’: Isobel Wylie Hutchison, Jenny Gilbertson, Margaret Tait and Other Twentieth-Century Scottish Women Filmmakers -
24. ‘Here will be a Garden-City’: Soviet Man on an Arctic Construction Site -
25. Transcending the Sublime: Arctic Creolisation in the Works of Isaac Julien and John Akomfrah -
26. DJ Spooky and Dziga Vertov: Experimental Cinema Meets Digital Art in Exploring the Polar Regions - Notes on the Contributors
- Index
