JUMP CUT
A REVIEW OF CONTEMPORARY MEDIA

1. Malitsky (2013) p. 30. [return to page 1]

2. qt in Chanan, Michael(2004) Cuban Cinema. Minneapolis: University of Minnesota Press. p. 227.

3. Malisky (2013) p. 191.

4. Malitsky (2013) p. 30.

5. John Mraz, (1990): quoted by Malitsky (2013), p. 203.

6. Vertov, Dziga (1922) “WE: Varient of a Manifesto,” Kino Eye: The Writings of Dziga Vertov. (1984) (Kevin O’Brien, trans.) Berkeley: University of California Press. p. 7.

7. Malitsky (2013), p. 100.

8. qt in Chanan, Michael(2004) Cuban Cinema. Minneapolis: University of Minnesota Press. p. 227.

9. Mailitsky (2013), p. 30.

10. Chanan, Michael (2004) Cuban Cinema. Minneapolis: University of Minnesota Press. p. 30.

11. Malitsky (2013), pp. 156-7.

12. qt in Malitsky (2013), p. 184.

13. Mailitsky (2013), p. 156.

14. Malistsky (2013), p. 164.

15. Yampolsky, Mikhail (1991), “Reality at Second Hand,” Historical Journal of Film, Radio and Television 11:2, p. 161.

16. Nichols, Bill (1994) Blurred Boundaries. Bloomington, IN: Indiana University Press. p. 94.

17. Petric, Vlada (1984), “Esther Shub: Film as a Historical Discourse,” in ‘Show Us Life’: Toward a History and Aesthetics of Committed Documentary (Thomas Waugh, (ed.). Metuchen, The Scarecrow Press. p. 24.

18. Mailsky (2013), p.122. [return to page 2]

19. http://www.youtube.com/watch?v=LjjGV5_4LkQ [accessed 20 July 2013]

20. I am grateful to John Mackay for his contribution at Goskino Kalandar to the initial meeting of the European Newsreel Network in the University of Lund, Sweden (21/22 May, 2013) and for sharing the unpublished paper he gave there with me.

21. Malitsky (2013), p. 85.

22. Malitsky (2013), p. 24.

23. Grierson, John (1979), Grierson on Documentary (Forsyth Hardy, ed.). London: Faber. pp. 35f. and 73f.).

24. qt. in Macpherson, Don (1980) (ed. in collaboration with Paul Willemen), Traditions of Independence. London: BFI. p.133.

25. Malitsky (2013), p. 3.

26. Taylor, Charles (2004) Modern Social Imaginaries. Durham, NC: Duke UP, 23, 167): cited, Malitsky (2013), p. 11.

27. Malitsky (2013), p. 13.

28. Malitsky (2013), p. 17.

29. Barthes, Roland (1973), Mythologies(A. Lavers, trans.). London: Paladin. p. 250

30. For example, both pioneered documentary sync, as far as we currently know, before the West: Shub’s K-SH-E (Komsomol: Pioneer of Electrification) 1932 and Vertov’s Three Songs of Lenin 1934.

31. Goldoskaya, Marina (2006) Woman with a Movie Camera. Austin, TX: University of Texas Press. p. 24.

32. Shub died in Moscow in 1959; Svilova lived till 1975 and also died in Moscow.

33. Michelson, Annette (1984) “Introduction,” Kino Eye: The Writings of Dziga Vertov. (Kevin O’Brien, trans.). Berkeley: University of California Press. p. lxi.