VERTOV (Denis Arkadievitch Kaufman [Denis Arkad'evič Kaufman], dit Dziga) (suite)
Films :
Ciné-Semaine (Kinonedelija, 43 numéros, 1918-19) ; l'Anniversaire de la révolution (Godovščina revoljucij, 1919) ; la Bataille de Tsaritsine (Boj pod Caricymom, 1920) ; Ouverture du reliquaire de Serguei Radonejski (Vskrytie moščej Sergija Radonežskogo, id.) ; le Train Lénine / l'Agit-train du Comité central (Agitpoezd VCIK, 1921) ; Histoire de la guerre civile (Istorija graždanskoj vojny, 1922), Ciné-Pravda (Kino-Pravda, 23 numéros, 1922-1925) ; le Calendrier du Goskino (‘ Goskino Kalendar ’, 55 numéros, 1923-1925) ; Ciné-œil — la vie à l'improviste (Kino-Glaz — žizn vrasploh, 1924) ; Soviet en avant ! (Šagaj, Sovet ! / Mossoviet, 1926) ; la Sixième Partie du monde (‘ Šestaja čast ’ mira, id.) ; la Onzième Année (Odinnadcatyj, 1927-28) ; l'Homme à la caméra (Čelovek kinoapparatom, 1929) ; Enthousiasme / la Symphonie du Donbass (Entuziazm / Simfonia Donbassa, 1930) ; Trois Chants sur Lénine (Tri pesni o Lenin, 1934) ; Berceuse (Kolybel'naja, 1937) ; Serguei Ordjonikidzé (Sergo Ordžonikidze, id.) ; Gloire aux héroïnes soviétiques (Slava soveckim geroiniam, 1938) ; Trois Héroïnes (Tri geroini, id.) ; la Hauteur A (V rajone vysoty A, 1941) ; Sang pour sang (Krov za krov, id.) ; Sur la ligne de feu (Na linii ognja, id.) ; Toi, au front / Sur le front du Kazakhstan (Tebe, front / Kazahstan frontu, 1942-43) ; Dans la montagne Ala-Tau (V gorah Ala-Tau, 1944) ; Le Serment de la jeunesse (Kljatva molodyh, 1947) ; les Nouvelles du jour (Novosti dnja, journal d'actualités, 1944-1954).
VÉRY (Pierre)
écrivain et scénariste français (Bellon 1900 - Paris 1960).
Son œuvre d'écrivain baigne dans le mystère : mystère de l'enfance, de la terre charentaise, de l'appel des antipodes. Le cinéma exploitera plutôt sa veine policière, il est vrai fort riche. Sous l'Occupation, il est — avec Balzac et Simenon — l'un des auteurs les plus sollicités. Il convient de distinguer d'une part ses livres qui furent adaptés par des tiers, comme les Disparus de Saint-Agil (dialogues de Jacques Prévert) ou l'Assassinat du Père Noël (scénario de Charles Spaak), deux films tournés par Christian-Jaque (1938 et 1941), ou qui furent transposés par lui-même (Goupi Mains rouges, Jacques Becker, 1943 ; le Pays sans étoiles, G. Lacombe, 1946 ; les Anciens de Saint-Loup, G. Lampin, 1950 ; d'autre part, ses scénarios originaux, pour la plupart non policiers (l'Enfer des anges, Christian-Jaque, 1939 ; Un grand patron, Y. Ciampi, 1951 ; la série des Papa, maman, la bonne et moi, J.-P. Le Chanois, 1954 et 1956) et, enfin, ses adaptations propres (la plus célèbre étant une malencontreuse Chartreuse de Parme, sous la direction de Christian-Jaque en 1948). En fait, un seul grand film émerge dans sa carrière à l'écran : Goupi Mains rouges. Véry y était, il est vrai, épaulé par un grand metteur en scène. L'écrivain était conscient de ses lacunes. Avec le cinéma, il avait contracté un mariage de raison, non d'amour. Son inspiration était pourtant éminemment cinématographique. Comme l'écrit Francis Lacassin, il n'avait pas son pareil — en France — pour cultiver l'insolite et « la métamorphose du banal en magique ».
VESELY (Herbert)
cinéaste autrichien (Vienne 1931).
Ses premiers films se rattachent résolument à l'avant-garde, en particulier Ne plus fuir (Nicht mehr fliehen, 1955). Dès 1956, il travaille pour la télévision et, parallèlement, réalise de nombreux courts métrages. En 1961, il tourne, en Allemagne, une sorte de manifeste du jeune cinéma allemand, le Pain des jeunes années (Das Brot der frühen Jähre), tiré d'un roman de Heinrich Böll. Il se consacre ensuite presque exclusivement à la télévision, ne revenant qu'exceptionnellement au cinéma, notamment en 1979 pour Egon Schiele, enfer et passion (Egon Schiele — Exzess und Bestrafung) et en 1988 pour Plaza Real.
VEUVE (Jacqueline)
cinéaste suisse (Payerne 1930).
Sa formation d'ethnologue l'amène tout d'abord à collaborer aux travaux de Jean Rouch en France et de Richard Leacock aux États-Unis. La discrétion, le souci du détail et l'intérêt porté aux individus – qualités inhérentes à sa formation initiale – marquent l'ensemble de son œuvre cinématographique documentaire. En tant que réalisatrice, elle s'attache avant tout à raconter son pays, la Suisse, avec la plus grande objectivité. Elle documente en particulier les métiers menacés de disparition : luthier, boisselier, scieur-sculpteur, charretier, tavillonneurs en 1988, puis fabricant de jouets en 1992. Le superbe Chronique paysanne en Gruyère (1990) et Chronique vigneronne (1999) restent ses films les plus emblématiques de cette série. Dans d'autres films, elle adopte un regard plus historique. C'est le cas de Journal de Rivesaltes 1941-1942 (1997), un magnifique documentaire consacré à une jeune infirmière suisse, héroïne de la Résistance. En 2000, elle réalise deux portraits d'artistes, Delphine Seyrig, portrait d'une comète ainsi que le Salaire de l'artiste, dédié à son propre fils, jeune artiste-peintre. Mentionnons par ailleurs deux incursions dans le domaine de la fiction, en 1982 avec Parti sans laisser d'adresse, sur la correspondance d'un jeune homme incarcéré, et en 1992 avec l'Évanouie.
VEYRE (Gabriel)
cinéaste et photographe français (Septème, Isère, 1871 - Casablanca 1936).
Non seulement il fait découvrir le cinématographe au Mexique (1896) et à Cuba (1897), mais il y donne aussi les premiers tours de manivelle. Ses documentaires tournés à Mexico et à Guadalajara, les seuls conservés, montrent un disciple appliqué de Louis Lumière, avec le sens du cadrage, de l'angle et de la distance, ainsi que de l'agencement du mouvement au moment opportun. Il poursuit son périple au Panamá, en Colombie, au Venezuela et à Fort-de-France, mais ses ennuis d'affaires et de santé l'obligent à chercher d'autres aventures, sous d'autres cieux. En Indochine, il développe son goût pour la photographie. Ce Français attiré par l'exotisme, qui revêtit avec fierté les habits de charro mexicain, finit sa vie au service du sultan du Maroc.
Cet Institut fédéral d'État du cinéma est la plus ancienne école officielle de cinéma dans le monde, créé à Moscou en 1919 sous la direction du réalisateur Vladimir Gardine, avec comme professeurs, entre autres, Koulechov et Tissé. Réorganisé en 1925 (GTK) puis en 1930 (GIK), il reçoit en 1938 son appellation définitive. De nombreux professionnels y enseignent (dont Eisenstein, pendant vingt ans). Chaque promotion compte environ 250 étudiants, soviétiques et étrangers, admis sur concours. Les études durent cinq ans et sont réparties en diverses maîtrises : mise en scène, scénario, prise de vues, décoration, production, art dramatique, histoire et critique. Elles sont sanctionnées par un diplôme comportant la réalisation d'un film de long métrage ou une collaboration à un film.
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