Bergson e Vertov, nel segno di Deleuze
Giulio Piatti (Università di Torino)
Gilles Deleuze, in Cinema 1. The movement–image, approaches Henri Bergson to Dziga Vertov: while Bergson theorizes the image in itself, Vertov reaches it through the cine–eye (Kinoglaz). The sovietic director realizes then, through the technique of a constructivist montage, the materialist program drawn by Bergson in the first chapter of his classic book Matter and memory. In other words, Vertov overcomes the human point of view on reality. The goal of this presentation is to study Deleuze’s approach and to search out the persistent Bergson’s influence on Vertov and, more in general, on both western and russian avant–garde.
Cinema, Aesthetics, Bergson, Deleuze, Vertov, Pre-human.