Tektology, Russian constructivism, and Man with a Movie Camera

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dc.contributor.authorMacKenzie, Melody A.
dc.contributor.supervisorAntliff, Allan
dc.date.accessioned2008-08-27T17:24:50Z
dc.date.available2008-08-27T17:24:50Z
dc.date.copyright2008en_US
dc.date.issued2008-08-27T17:24:50Z
dc.degree.departmentDept. of History in Arten_US
dc.degree.levelMaster of Arts M.A.en_US
dc.description.abstractThe Constructivists wholeheartedly endorsed the future of Soviet socialism and they took a leading role in shaping proletarian ideology. Drawing on Bogdanov’s theories of tektology and proletarian art, the Constructivists synthesized their artistic vision with the proletarian cultural movement. The Constructivists’ desire to organize the collective as “worker-organizers” through “production” art was indebted to Bogdanov. In this regard, Constructivist work during the laboratory phase is paramount for understanding the role that Bogdanov’s tektology played in the development of Constructivist theory. In 1929, Dziga Vertov produced Man with a Movie Camera, and an analysis of tektological methods used in this film reveal Vertov’s ideological motivations. It is on this basis – building ideology – that tektology furnished a viable solution to the Constructivist pursuit of uniting the theoretical and the practical in their art.en_US
dc.identifier.urihttp://hdl.handle.net/1828/1089
dc.languageEnglisheng
dc.language.isoenen_US
dc.rightsAvailable to the World Wide Weben_US
dc.subjectRussian Filmen_US
dc.subjectRussian Studiesen_US
dc.subjectAlexandr Bogdanoven_US
dc.subjectProletkulten_US
dc.subjectAlexandr Rodchenkoen_US
dc.subjectDziga Vertoven_US
dc.subject.lcshUVic Subject Index::Humanities and Social Sciences::Communication and the Arts::Art--Historyen_US
dc.titleTektology, Russian constructivism, and Man with a Movie Cameraen_US
dc.typeThesisen_US

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