Vertov, Dziga, Kino-Eye: the writrngs of Dziga Verlov. Filmography: p lncludes index. 1. Moving-pictures, Documentary-Soviet Union. Kino-Eye (Anglophonic: Cine-Eye) is a film technique developed in Soviet Russia by Dziga Vertov. It was also the name of the movement and group that was defined by this technique. Kino-Eye was Vertov’s means of capturing what he believed to be . In his writings, Vertov chastised contemporary cinematography as being too. The Regents of the University of California. Library of Congress Cataloging In Publication Data. Vertov,Dziga, Kino-Eye: the writings of Dziga Vertov.
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Edited and translated by Richard Taylor.
InVertov wrote:. It is in the editing and cutting together of these fragments that meaning is made. Responding to critics and those trying to intellectualize the film, he wrote, “In fact, the film is only the sum of the facts recorded on film.
It makes it easy to scan through your lists and keep track of progress. She and An Evening of Miniatures. There has been much debate over whether Kino-Eye was intended as an epistemological form, an emancipatory form, or even a scientific form. Letter from a Woman Tractor Driver. It was then, after all, that a very large area of Soviet cinema was born in joyful labor. Artistic Drama and KinoEye. Kino and the Woman Question: Acted cinema is a replacement for theater, it is theater restored.
Variant of a Manifesto. The relatively new form was celebrated as the tool of a new social order by revolutionary leaders like Lenin and Trotsky. Your reading intentions are also stored in your profile for future reference. How do I set a reading intention To set a reading intention, click through to any list item, and look for the panel on the left hand side: Crucially for Vertov, Kino-Eye allowed the meaning to be in the hands of the viewer, not the script.
Vertov’s writings, collected here, range from calculated manifestos setting forth his heroic vision of film’s potential to dark ruminations on the inactivity forced upon him by the bureaucratization of the Soviet state.
Vertov credited American action films as the first form to harness cinema’s incredible dynamism and the use of the close-upbut wanted to explore these forms even more deeply with Kino-Eye. By manipulating the camera to exploit movement along with new editing techniques that focused on film speed and transitions, Kino-Eye would construct a new, objective depiction of reality.
Views Read Edit View history. This page was last edited on 11 Augustat The kinoks organized themselves in the same way the Soviets did – headed by the “Council of Three” Vertov and two othersthe rest were thought of as comrades in film-making.
University of California Pr Amazon. It was also the name of the movement and group that was defined by this technique.
Kino-Eye: The Writings of Dziga Vertov – Dziga Vertov – Google Books
Kino-Eye developed as a response to what was happening in much of Soviet cinema at the time Vertov entered the playing field. In fact, Kino-Eye was based more fundamentally on the wrotings of the newsreel than on montage or any entertainment-filmmaking process. A compromise tendency still exists, directed toward the fusion or blending of the two. A history of Russia: Setting up reading intentions help kino-ehe organise your course reading.
What are reading intentions? Your reading intentions are private to you and will not be shown to other users. Jeremy Hicks writes that the Bolsheviks had long espoused the newspaper as the main source of fact and truth. Vertov’s cinematic form was a direct response kino-eje the truth that he found in journalism and its representations of everyday life. Please log in to set a read status. In the early s, cinema emerged as a central medium of artistic expression in the Soviet Union.
Why the name Kino-Eye?
I decipher in a new way a world unknown to you. The Kino-Eye was Vertov’s solution to what od saw as the diluted nature of “propagandistic-artistic” Soviet film. Ohio State University Press. To set a reading intention, click through to any list item, and look for the panel on the left hand side:.
Kino-Eye was also a reaction to overly “acted” films that Vertov despised. The kinoks believed that through their method of Kino-Eye they were “keeping stride with the worldwide proletarian revolution. They wanted to capture “real life,” which they believed could only be achieved through the objectivity of Kino-Eye. In his writings, Vertov chastised contemporary cinematography as being too concerned with elements writongs of the film shot itself, such as music or literature.
Vertov thought of the film as the culmination of his previous Kino-Eye features, writing:. I, a machine, show you the world as only I can see it.
Dziga Vertov was one of the greatest innovators of Soviet cinema. The Writings of Dziga Vertov.