Search results
Yelizaveta Ignatevna Svilova (Russian: Елизаве́та Игна́тьевна Сви́лова, rendered in Latin as Elizaveta Svilova) (5 September 1900, Moscow – 11 November 1975, Moscow) was a Russian filmmaker and film editor. She is perhaps best known for making films with her husband Dziga Vertov and her brother-in-law Mikhail Kaufman.
Elizaveta Svilova. 1900 – 1975. Elizaveta (a.k.a. Yelizaveta) Svilova began apprenticing at age twelve in a film laboratory. Beginning at the age of fourteen, she worked for the Pathé film company as a cutter and photo-printer, working there from 1914-18.
A film editor, director, writer, and archivist, Elizaveta Svilova was an intellectual and creative force in early Soviet montage. She is best known for her extensive collaborations with her husband, Dziga Vertov, on seminal early documentary films, and especially for instances when she appeared on camera demonstrating the act of editing itself.
Sep 5, 2021 · women recollected soviet film russian film man with a movie camera. Editor Elizaveta Svilova is best known for her partnership with her husband Dziga Vertov — but her own career spans far further.
Elizaveta Ignatevna Svilova (Елизавета Игнатьевна Свилова, 1900–1975) was a Russian filmmaker and film editor. She was a lifelong collaborator with her husband, Dziga Vertov, and a key member of his Kino-Eye group.
Dec 2, 2023 · Elizaveta Svilova is perhaps most recognized as the wife of Dziga Vertov, a pioneer of Soviet documentary cinema during the 1920s best known for his film Man with a Movie Camera (1929), but she also stands as a core voice of Soviet cinema and early female pioneers of world cinema.
People also ask
Who is Elizaveta Svilova?
Who is Yelizaveta Ignatevna Svilova?
What happened to Svilova after Vertov?
When did Svilova appear in Kino Pravda?
Apr 7, 2020 · A film editor, director, writer, and archivist, Elizaveta Svilova was an intellectual and creative force in early Soviet montage. She is best known for her extensive collaborations with her husband, Dziga Vertov, on seminal early documentary films, and especially for instances when she appeared on camera demonstrating the act of editing itself.
