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Films on IceCinemas of the Arctic$
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Scott MacKenzie and Anna Westerstahl Stenport

Print publication date: 2015

Print ISBN-13: 9780748694174

Published to Edinburgh Scholarship Online: May 2017

DOI: 10.3366/edinburgh/9780748694174.001.0001

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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
DOI:10.3366/edinburgh/9780748694174.003.0027

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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