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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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 “inaccessible to the human eye”;  that is, Kino-Eye films would not attempt to imitate how the human eye saw things. Rather, by assembling film fragments and editing them together in a form of montageKino-Eye hoped to activate a new type of perception by creating “a new filmic, i.
In the early s, cinema emerged as a central medium of artistic expression in the Soviet Union. The relatively new form was celebrated as the tool of a new social order by revolutionary leaders like Lenin and Trotsky.
In fact, the vast majority of “entertainment” films shown in the s were imported from Hollywoodand it was not until that Soviet-made films outsold imported films in the box office. Kino-Eye developed as a response dzita what was happening in much of Soviet cinema at the time Vertov entered the playing field.
He wanted a revolutionary form, a form that could represent truth in the way he believed most “acted” films did not. Vertov credited American action films as the first form to writinhs cinema’s incredible dynamism and the use of the close-upbut wanted thhe explore these forms even more deeply with Kino-Eye. In fact, Kino-Eye was based more fundamentally on the techniques of the newsreel than on montage or any entertainment-filmmaking process. Over a decade after the Civil War inVertov wrote:.
Why is the era of the Civil War missing from your remembrances? It was then, after all, that a very large area of Soviet cinema was born in joyful labor.
And from on, after all, we studied film writing, or how to write with a camera At that time I specialized in factual film writing. I tried to become a newsreel film writer. In many ways, Kino-Eye resulted from newsreels and styles of Bolshevik journalism. Jeremy Hicks writes that the Bolsheviks had long espoused the newspaper as the main source of fact and dzlga.
Vertov’s cinematic form was a direct response to the truth that he found in journalism and its representations of everyday life. Like many of its contemporaneous art forms, Kino-Eye was an attempt to model objectivity amid the contradictions of Soviet modernity.
The Kino-Eye was Vertov’s solution to what he saw as the diluted nature of “propagandistic-artistic” Soviet film.
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.
InVertov wrote:. I, a machine, show you the world as only I can see it. Now and forever, I free myself from human immobility, I am in constant motion, I draw near, then away from objects, I crawl under, I climb onto them Now I, a camera, fling myself along their resultant, maneuvering in the chaos of movement, recording movement, starting with movements composed of the most complex combinations My path leads to the creation of a fresh perception of the world.
I decipher in a new way a world unknown to you. Kino-Eye was also a reaction to overly “acted” films that Vertov despised. It was positioned diametrically opposite what the kinoks thought of as “staged” film.
They wanted to capture “real life,” which they believed could only be achieved through the objectivity of Kino-Eye. The kinoks held that actors could only ever produce “pseudorealism” through a scripted film. In a note on the “History of the Kinoks,” Vertov wrote:. It’s difficult to stand up against the cinema that is acted. It represents 98 percent of our world production.
We simply feel that the cinema’s chief function is the recording of documents, of facts, the recording of life, of historical processes.
Acted cinema is a replacement for theater, it is theater restored. A compromise tendency still exists, directed toward the fusion or blending of the two. We take a stand against all that. The goal of a non-staged, was the expansion of the cinematic field of vision, and thereby of the potential truth of that vision.
It became largely recognized, as members of the film community could not help but recognize the success of works like Man with a Movie Camera. There has been much debate over whether Kino-Eye was intended as an epistemological form, an emancipatory form, or even a scientific form. Crucially for Vertov, Kino-Eye allowed the meaning to be in the hands of the viewer, not the script. Kinochestvo was the main cinematographic mechanism of Kino-Eye. In his writings, Vertov chastised contemporary cinematography as being too concerned with elements outside of the film shot itself, such as music or literature.
Vertov and his followers that took up Kino-Eye as their method of film production referred to themselves as kinoks “cinema-eye men” rather than “cinematographers.
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. They celebrated their difference from traditional film-makers. Addressing his contemporary cinematographers, Vertov wrote, “However insignificant our practical achievement, nevertheless it’s more than your years of nothing.
The kinoks believed that through their method of Kino-Eye they were “keeping stride with the worldwide proletarian revolution. Their form was deeply tied to Soviet socialismas they wanted to make cinema available to a working class audience.
Still, the kinoks were not met with universal welcome. Eisenstein chastised them as wanting “to remove cinema from the ranks of the arts at all costs.
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Several films did gain national and even international recognition, such as Vertov’s Three Songs of Lenin and Enthusiasm. According to Vertov, it required more work than his previous Kino-Eye films because of its complexity in both filming and editing. Vertov thought rwitings the film as the culmination of his previous Kino-Eye features, writing:.
Unashamedly avant-garde, Man with a Movie Camera captures every day actions such as getting out of bed, washing, and even giving birth. It is in the editing and cutting together of these fragments that meaning is made. Hicks writes, “In its very form Man with a Movie Camera is a defence of documentary. For Vertov, however, the defense of documentary was inextricable from the defence of the integrity of cinema itself, since documentary was its purest, least theatrical form.
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.
Why the name Kino-Eye? –
From Wikipedia, the free encyclopedia. This article is an orphanas no other articles link to it. Please introduce links to this page from related articles ; try the Find link tool for suggestions. The Politics of the Soviet Cinema The Writings of Dziga Vertov.
University of California Press. A history of the Russian and Soviet Film. Kino and the Woman Question: Feminism and Soviet Silent Film. Ohio State University Press. Kino – The Russian Cinema: Edited and translated by Richard Taylor.
Dziga Vertov and the Twenties. Edited by Yuri Tsivian, translated by Julian Graffy. La Giornate del Cinema Muto. Retrieved from ” https: Cinematic techniques Soviet film directors Soviet cinematographers.
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