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'THE HEAD OF THE LOAD ARE THE TROUBLES OF THE NECK'

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'THE HEAD OF THE LOAD ARE THE TROUBLES OF THE NECK'

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'I AM NOT ME, THE HORSE IS NOT MINE'

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Film in showing a small communitys way of life during soviet russia.
Shows their own haircuts, dress, catle etc. Quiet a terriortial way in showing a subculture is the hair cut. Leetting someone else do it for you, passing something on.
Title of the film and within shows a mission for something as small/meaningless as salt?

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Debating faces throughout, is it thickening is it not? If so, do the people really benefit in the end. Congratulations with a smile on the end shot, seems almost grotesque in the way its so heavily concentrated on machine and then almost a climax that is false hope. Give people a hope for the time being, but what are the consequences

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Landmarks of Early Soviet Film: A Collection of 8 Groundbreaking Films: 1924-1930

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A Flicker Alley Digital Presentation from the Blackhawk Films® Collection

During the 1920s, Soviet documentary and fiction films were financed by the State, and their fledgling directors, some barely out of their teens, converted their lives from theater, engineering, painting and journalism to the practice and theory of a revolutionary cinema devoted to showing the achievements and aspirations of the new Socialist society. Their problem was to captivate an enormous, culturally diverse, multi-lingual, semi-literate population in ways that would be emotionally compelling, yet ideologically clear. The proven ability of movies to achieve this difficult goal inspired Lenin's famous dictum, "For us, cinema is the most important art.," and their stunning innovations recharged world cinema. Editing, or "montage," is the common organizational basis of these films and each of the filmmakers believed the arrangement of shots to be the foundation of film art. 

Yet these films are extremely diverse in approach, from Esfir Shub's poster-like arrangement of pre-1917 newsreels, to Dziga Vertov's intellectual complexity, to the striking imagery of Sergei M. Eisenstein and Mikhail Kalatozov. Additionally, the influence of D. W. Griffith is apparent in Lev Kuleshov's satiric comedy and tension-filled drama. Each of the eight seminal feature-length films in this remarkable set repays several viewings as a work of art; each is also a fascinating window on issues and attitudes in the world's first Socialist state. They are Sergei M. Eisenstein's last silent and seldom-seen Old and New (1929), which attempts to bring visual poetry to the collectivization of agriculture; Dziga Vertov's Stride, Soviet! (1926), which transformed a State commission intending to show what the Soviet had done for Moscow into a highly experimental film; Viktor Turin's Turksib (1930), a stirring chronicle of the building of the Turkestan-Siberian railway (a major inspiration to the British and American documentary film movements of the 1930s); Esfir Shub's Fall of the Romanov Dynasty(1927), culled from pre-Soviet Russian newsreels gathered from Europe and America; Boris Barnet's The House on Trubnaya Square (1928), often described as one of the best Soviet silent comedies; Lev Kuleshov's The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks (1924), a stunt-filled comedy, in which a Harold Lloyd-like character comes from America to investigate the barbarous Soviet state only to discover the "real" Russia; along with the same director's By the Law (1926), a tense drama set in Alaska and based upon a short story by Jack London; and Mikhail Kalatozov's Salt for Svanetia (1930), which explores the Caucasus region of Svanetia, a remote, mountainous area where the Ushkul tribe still lives in a stone-age culture. All the films have original Russian intertitles with English subtitles (which are removable on four of the films), except Turksib and The Fall of the Romanov Dynasty, which have full-screen English intertitles; all have musical scores new for these editions by Robert Israel, Eric Beheim, Alexander Rannie and Zoran Borisavljevic. Special thank you to the Harvard Film Archive for access to several of its original 35mm prints.

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The giant tap-dancing noses scene from Shostakovich's The Nose (The Royal Opera)

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'The head of the load are the troubles of the neck'

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'The head of the load are the troubles of the neck'

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1930s Dutch Personal Parabola

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Its too much for people to swallow (too much going on) but gives everybody something to think about

Conflict then with instinctual design, why does anyone have to think about anything and instead do something based of practicality or upgrade

Links back to the idea of having a menu of what the cosumer needs, can there be a menu of options within one garment?

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All design aspects are a 'force on our lives'
'Not something new but to work together to the same end'
Its too much for people to swallow (too much going on) but gives everybody something to think about

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"The Fred Perry shirt is a piece of British subcultural uniform, adopted by various groups of people who recognise their own values in what it stands for,"

Once clothing is released we are not in control of how they are used or what they can evolve into, what signifers they give of to people. Does the timing of releasing clothing effect this

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Fred Perry has pulled one of its most iconic polo shirts from production in the US and Canada after it was adopted as uniform by a far-right group.

The British-born brand will no longer be selling its Black/Yellow/Yellow twin-tipped shirt after the garment was adopted by the Proud Boys, a Southern Poverty Law Center-designated hate group founded in 2016.

Fred Perry condemned the racist, fascist and right-wing organisation in a statement on its website and withdrew any association with the group, saying: "Fred Perry does not support and is in no way affiliated with the Proud Boys. It is incredibly frustrating that this group has appropriated our Black/Yellow/Yellow twin tipped shirt and subverted our Laurel Wreath to their own ends."

"To be absolutely clear, if you see any Proud Boys materials or products featuring our Laurel Wreath or any Black/Yellow/Yellow related items, they have absolutely nothing to do with us, and we are working with our lawyers to pursue any unlawful use of our brand.

Fred Perry has been the adopted clothing choice for the anti-fascist skinhead subcultural movement in the UK, and the brand has spoken out against far-right views on numerous occasions.

"The Fred Perry shirt is a piece of British subcultural uniform, adopted by various groups of people who recognise their own values in what it stands for," the added. "We are proud of its lineage and what the Laurel Wreath has represented for over 65 years: inclusivity, diversity and independence.

"Despite its lineage, we have seen that the Black/Yellow/Yellow twin tipped shirt is taking on a new and very different meaning in North America as a result of its association with the Proud Boys. That association is something we must do our best to end. We therefore made the decision to stop selling the Black/Yellow/Yellow twin tipped shirt in the US from September 2020, and we will not sell it there or in Canada again until we're satisfied that its association with the Proud Boys has ended."

Fred Perry does not support and is in no way affiliated with the Proud Boys. Read our statement here.
- Fred Perry (@fredperry) September 25, 2020

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Fred Perry Stops Selling One Of Its Polo Shirts Due To Far-Right Group

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Fred Perry has pulled one of its most iconic polo shirts from production in the US and Canada after it was adopted as uniform by a far-right group. The British-born brand will no longer be selling its Black/Yellow/Yellow twin-tipped shirt after the garment was adopted by the Proud Boys, a Southern Poverty Law Center-designated hate group founded in 2016.