The genre of city documentaries in the '20s and '30s is normally associated with Germany on account of such films as "Berlin, die Sinfonie der Grosstadt" (1927, Walter Ruttmann) and "Menschen am Sonntag" (1930, Robert Siodmak, Edgar Ulmer and Rochus Gliese).
The genre was however also popular in other countries. In the USSR Dzigo Vertov made "Man with a movie camera" (1929) and in France Jean Vigo made "A propos de Nice" (1930)
The Vertov and Vigo movies are closely related in that the brother of Dzigo Vertov, Boris Kaufman, was the cinematographer of "A propes de Nice"
The relationship is however not limited to the personal sphere. "Man with a movie camera" and "A propos de Nice" are more innovative than their German counterparts. For both films this is true regarding camera positions and camera movements but for "A propos de Nice" it is also true for editing.
At first glance it seems like Vigo is following Sergei Eisenstein when he contrasts the beau monde at the boulevards of Nice with the working class people in their neighborhoods somewhat farther from sea.
At second glance it turns out that Vigo is following Eisenstein in his method of associative editing but certainly not in his Communist ideals. The working class is not portrayed as a victim of Capitalism but is just full of life preparing celebrating carnival. This lust for life is contrasted with images of a graveyard and yes this is associative editing.
The genre was however also popular in other countries. In the USSR Dzigo Vertov made "Man with a movie camera" (1929) and in France Jean Vigo made "A propos de Nice" (1930)
The Vertov and Vigo movies are closely related in that the brother of Dzigo Vertov, Boris Kaufman, was the cinematographer of "A propes de Nice"
The relationship is however not limited to the personal sphere. "Man with a movie camera" and "A propos de Nice" are more innovative than their German counterparts. For both films this is true regarding camera positions and camera movements but for "A propos de Nice" it is also true for editing.
At first glance it seems like Vigo is following Sergei Eisenstein when he contrasts the beau monde at the boulevards of Nice with the working class people in their neighborhoods somewhat farther from sea.
At second glance it turns out that Vigo is following Eisenstein in his method of associative editing but certainly not in his Communist ideals. The working class is not portrayed as a victim of Capitalism but is just full of life preparing celebrating carnival. This lust for life is contrasted with images of a graveyard and yes this is associative editing.