The myth of social space was invoked in France by Marxists as well as by conservatives, city commissioners, and professors. Utopian in the equilibrium it implied, ‘social space’ referred to ‘space abstracted beyond the chaos of the ground but not divorced from it; not solely geographical or social, it was […] a spatialization of complex social and economic relationships within a particular urban environment’ (p. 82).
The View From Above establishes extremely valuable connections between the high modernist use of aerial photography detailed in the research of scholars such as Paula Amad, and the late modernist disillusionment with aerial photography exemplified by Guy Debord’s texts and films during and after his participation in the Situationist International. It represents a continued invitation to contemplate our view of the city and our right to it.
I’ve recently submitted an article examining the aerial view as a visual modality. Two more film fragments by Vertov that have inspired me to think further on the subject:
The opening of A Sixth Part of the World (1926), in which Vertov juxtaposes omniscient vision from above, the slicing legs of foxtrotters, the powerful magnet of a construction crane and the small mole on the back of a bourgeois neck.
Another aerial view from the ending of The Eleventh Year (1928), where the technological advancements of Soviet aviation link Russia to its Chinese comrades via sight and flight.