In the past few years, Studies in Australasian Cinema has both witnessed and facilitated rigorous critical scholarship with respect to film production. This illuminating and invigorating aspect of contemporary screen studies necessarily foregrounds an explicitly theoretical awareness in filmmaking and specific production practices. At the same time, this nexus awakens historical figures, production roles, and stylistic developments that offer new, creative and politicised responses to the ways in which film history is documented and understood. Karen Pearlman’s short filmWoman with an Editing Bench, first exhibited in 2016, celebrates the lesser known and even less acknowledged editing style and oeuvre of Elizaveta Svilova (who edited Vertov’s iconic 1929 film Man with a Movie Camera and many others), whilst exploring her relationship with Vertov against Stalin’s censorship of cinema in the late 1920s. What follows is an interview with Pearlman, who wrote, directed and edited the film.

中文翻译：

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编辑（为）伊丽莎白：与卡伦·珀尔曼（Karen Pearlman）谈论Svilova，Vertov和“响应式创造力”

在过去的几年中，《澳大利亚电影研究》见证并促进了电影制作方面的严格批判性奖学金。当代屏幕研究的这种启发和启发的方面必定会在电影制作和特定的制作实践中展现出明确的理论意识。同时，这种联系唤醒了历史人物，生产角色和风格发展，从而对记录和理解电影历史的方式提供了新的，创造性的和政治化的回应。卡伦·珀尔曼（Karen Pearlman）的短片《带编辑台的女人》于2016年首次公映，以庆祝伊丽莎白塔·斯维洛娃（Elizaveta Svilova）的鲜为人知，甚至鲜为人知的编辑风格和作品（他编辑了韦尔托夫（Vertov）的标志性电影1929年的电影《带摄像机的男人》等），在1920年代后期探索斯大林对电影的审查制度的同时，探索了她与Vertov的关系。接下来是对珀尔曼的采访，珀尔曼撰写，导演和编辑了这部电影。