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Update 'content/syllabus/fifthsyllabustest.md'

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@ -31,7 +31,7 @@ This section covers roughly minutes 9-19 of the complete film:
<iframe width="560" height="315" src="https://www.youtube.com/embed/AeKKeiXTBos" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>
*[Man With a Movie Camera, Part 2](https://www.youtube.com/watch?v=AeKKeiXTBos), (~9m 00 to 19m 00).*
*[Man With a Movie Camera, Part 2](https://www.youtube.com/watch?v=AeKKeiXTBos) (~9m 00 to 19m 00).*
Nearly 21 minutes in, a sequence commences featuring the Camera Operator (presumably Mikhail Kaufman, Vertov’s younger brother and principal cameraman during this time) perched dangerously atop a moving car as he photographs the passengers in nearby horse-drawn carriages. The Cameraman furiously cranks his camera, propelling it into action, obsessively capturing the images before him. His gestures are explicitly masturbatory—the Camera is manically tugged upon (dziga, dziga, dziga…) as the operator hunches over his tool of capture, power, and domination. When a lady passenger mimics the crude crank-gesturing back at the Cameraman, is he embarrassed or intimidated? No, for he is in control! It is clear that Vertov’s technique is beyond mere voyeurism. There is nothing covert about his Cameraman’s imposition on his subjects. His camera has empowered him to subjugate them in a way. Vertov presents a series of images as still frames immediately following the precarious carriage sequence—these images of carriage passengers are held for several seconds each (including one frightfully unattractive portrait of the indignant gesturing woman), exemplifying the filmmaker’s power. Having tagged and dominated these subjects with his Kino-tool, their images have become his captives. It is now the filmmaker’s privilege to exhibit them as he fancies!
@ -40,7 +40,7 @@ This section covers roughly minutes 20-29 of the complete film:
<iframe width="560" height="315" src="https://www.youtube.com/embed/u2RKlDFmui4" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>
> [Man With a Movie Camera, Part 3](https://www.youtube.com/watch?v=u2RKlDFmui4), (~20m 00 to 29m 00).
*[Man With a Movie Camera, Part 3](https://www.youtube.com/watch?v=u2RKlDFmui4) (~20m 00 to 29m 00).*
Vertov’s ardent belief in the synthesis between humanity and technology pervaded every aspect of his work. “We: Variant of a Manifesto,” written in 1922, boldly proclaims: “Our path leads through the poetry of machines, from the bungling citizen to the perfect electric man,” [^3] precisely heralding the mechanical super-humanity he would present in Man with a Movie Camera, several years later. In Hard Core, Linda Williams’ seminal study of pornography, she describes A Country Stud Horse (1920), an early American stag film where a man stands at a mutoscope with his face pressed against the viewing interface to watch a striptease. [^4] Cutting directly to closeups of the stripper’s naked body, the film privileges the viewer with a sort of super-human sight, offering closer views than would be realistically available to the man at the mutoscope. The film repeatedly cuts back to reveal the male voyeur manually propelling the crank-powered mutoscope with one hand while masturbating with the other. This early example of human sexuality being bolstered by a cine-mechanical aid points directly toward Vertov’s vision of an improved human experience through technological innovation.
@ -51,7 +51,7 @@ This section covers roughly minutes 50-59 of the complete film:
<iframe width="560" height="315" src="https://www.youtube.com/embed/L8HiRQjEhF4" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>
> [Man With a Movie Camera, Part 7](https://www.youtube.com/watch?v=L8HiRQjEhF4), (~50m 00 to 59m 00).
*[Man With a Movie Camera, Part 7](https://www.youtube.com/watch?v=L8HiRQjEhF4) (~50m 00 to 59m 00).*
Beginning 25 minutes in, and continuing with much more prowess later on, we see the Camera appearing to act independently. Perched high above a busy city intersection, the camera pans (seemingly of its own accord) across the scene, glaring down upon its subjects. At 55 minutes, we see the Camera and Camera Operator superimposed upon the skyline of the city, towering above it, surveying the fiefdom that cowers beneath them. A few minutes later, depicted through the skilful application of stop-motion photography, the Camera (now appearing without its Operator) leaps from its case onto the tripod mount and begins to dance around. Clearly, the Camera itself is the film’s star, the truly principal figure. Despite this cheeky bit of animation, the viewer understands that the Camera is merely an appendage of its Operator; and yet, this tool is indispensable, as the Cock is to the Cocksman in pornography.
@ -66,7 +66,7 @@ This section covers roughly minutes 60-68 of the complete film:
<iframe width="560" height="315" src="https://www.youtube.com/embed/2sON2MxgFnE" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>
[Man With a Movie Camera, Part 7](https://www.youtube.com/watch?v=2sON2MxgFnE), (~60m 00 to 68m 00).
*[Man With a Movie Camera, Part 7](https://www.youtube.com/watch?v=2sON2MxgFnE) (~60m 00 to 68m 00).*
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@ -76,13 +76,13 @@ This section covers roughly minutes 60-68 of the complete film:
# Bibliography
Foucault, Michel. The History of Sexuality. Vol. 1: An Introduction. Translated by Robert Hurley. New York: Pantheon Books, 1978.
Foucault, Michel. *The History of Sexuality. Vol. 1: An Introduction.* Translated by Robert Hurley. New York: Pantheon Books, 1978.
Michelson, Annette. Kino-Eye. Berkeley: University of California Press, 1984.
Michelson, Annette. *Kino-Eye.* Berkeley: University of California Press, 1984.
Tsivian, Yuri. Lines of Resistance: Dziga Vertov and the Twenties. Germona: Le Giornate del Cinema Muto, 2004.
Tsivian, Yuri. *Lines of Resistance: Dziga Vertov and the Twenties.* Germona: Le Giornate del Cinema Muto, 2004.
Williams, Linda. Hard Core: Power, Pleasure, and the “Frenzy of the Visible”. Berkeley: University of California Press, 1989.
Williams, Linda. *Hard Core: Power, Pleasure, and the “Frenzy of the Visible”.* Berkeley: University of California Press, 1989.
# Filmography
@ -90,21 +90,21 @@ Williams, Linda. Hard Core: Power, Pleasure, and the “Frenzy of the Visible”
# Footnotes
[^1]: Tsivian, Yuri. Lines of Resistance (p.5-14). In his introduction, Tsivian provides a concise account of Vertov’s ideologies and prinicipal grievances, including his feuds with popular Marxist thinkers and publishers, as well as celebrated Soviet filmmaker Sergei Eisenstein.
[^1]: Tsivian, Yuri. *Lines of Resistance* (p.5-14). In his introduction, Tsivian provides a concise account of Vertov’s ideologies and prinicipal grievances, including his feuds with popular Marxist thinkers and publishers, as well as celebrated Soviet filmmaker Sergei Eisenstein.
[^2]: Michelson, Annette. Kino-Eye (p. xviii)
[^2]: Michelson, Annette. *Kino-Eye* (p. xviii)
[^3]: Vertov, Dziga. “We: A Variant Manifesto” reproduced in Kino-Eye ed. Annette Michelson, (p8).
[^3]: Vertov, Dziga. “We: A Variant Manifesto” reproduced in *Kino-Eye* ed. Annette Michelson, (p8).
[^4]: Williams, Linda. Hard Core… (p78-79).
[^4]: Williams, Linda. *Hard Core…* (p78-79).
[^5]: Foucault, Michel. The History of Sexuality (p51-73)
[^5]: Foucault, Michel. *The History of Sexuality* (p51-73)
[^6]: Vertov, Dziga. “Kinocs: A Revolution” reproduced in Kino-Eye ed. Annette Michelson (p.17)
[^6]: Vertov, Dziga. “Kinocs: A Revolution” reproduced in *Kino-Eye* ed. Annette Michelson (p.17)
[^7]: Williams, Linda. Hard Core (p.48-49)
[^7]: Williams, Linda. *Hard Core* (p.48-49)
[^8]: This irony was not missed by Soviet film critics at the time. See: Tsivian, Yuri. Lines of Resistance. (p.321-346)
[^8]: This irony was not missed by Soviet film critics at the time. See: Tsivian, Yuri. *Lines of Resistance*. (p.321-346)
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