A testvériség montázsa. Az „én” és a „mi” egyenértékűségének filmnyelvi megteremtése Abel Gance Napóleon (1927) és Dziga Vertov Ember a felvevőgéppel (1929) című filmjében
A montage of fraternity. The cinematic language of the equivalence of the ‘I’ and the ‘we’ in Abel Gance’s Napoléon (1927) and Dziga Vertov’s Man with a Movie Camera (1929) This paper compares scenes from Abel Gance’s Napoléon (1927) and Dziga Vertov

Summary/Abstract: A montage of fraternity. The cinematic language of the equivalence of the ‘I’ and the ‘we’ in Abel Gance’s Napoléon (1927) and Dziga Vertov’s Man with a Movie Camera (1929) This paper compares scenes from Abel Gance’s Napoléon (1927) and Dziga Vertov’s Man with a Movie Camera (1929). The main argument is that the sequences analysed are both attempts to express the concept of fraternity in film. The paper explores a particular case of how film can contribute to the creation and affirmation of the political subject, with a focus on the formal aspects of this process.

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