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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Please log in to set a read status Setting a reading intention helps you organise your reading. In his writings, Vertov chastised contemporary cinematography as being too concerned with elements outside of the film shot itself, such as music or literature.
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. Cinematic techniques Soviet film directors Soviet cinematographers. Variant of a Manifesto. On the Organization of a Film Experiment Station. University of California Pr Amazon.
Why the name Kino-Eye? –
At that time I specialized in factual film writing. Letter from a Woman Tractor Driver. He wanted a revolutionary form, a form that could represent truth in the way he believed most “acted” films did not. Vertov’s cinematic form was a direct response to the truth that he found in journalism and its representations of everyday life. It was positioned diametrically vfrtov what the kinoks thought of as “staged” film.
And from on, after all, we studied film writing, or how to write with a camera 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.
The Kino-Eye was Vertov’s solution to what he saw as the diluted nature of “propagandistic-artistic” Soviet film. It’s difficult to stand up against the cinema that is acted.
Still, the kinoks were not met with universal welcome.
Hicks writes, “In its very form Man with a Movie Camera is a defence of documentary. The goal of a non-staged, was the expansion of the cinematic field of vision, and thereby of the potential truth of that vision.
The kinoks held that actors could only ever produce “pseudorealism” through a scripted film.
This page was last edited on 11 Augustat The Soviet Cultural Experiment I, 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. Kinochestvo was the main cinematographic mechanism of Kino-Eye. Wrihings avant-garde, Man with a Movie Camera captures every day actions such as getting out of bed, washing, and even giving birth.
Why the name Kino-Eye?
My path leads to the kinl-eye of a fresh perception of the world. 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.
I tried to become a newsreel film writer. University of California Press- History – pages. How do I set a reading intention To set a reading intention, click through writinys any list item, kino-eys look for the panel on the left hand side: Your reading intentions are private to you and will not be shown to other users. My library Help Advanced Book Search.
Setting up reading intentions help you organise your course reading. They celebrated their difference from traditional film-makers. This article is an orphanas no other articles link to it. Edited and translated by Richard Taylor. The Writings of Dziga Vertov. A history of Russia: Eisenstein chastised them as wanting “to remove cinema from the ranks of the arts at all costs. Ohio State University Press.
InVertov wrote:. You can filter on reading intentions from the listas well as view them within your profile. What are reading intentions? Dziga Vertov and the Twenties. We simply feel that the cinema’s chief function is the recording of documents, of facts, the recording of life, of historical processes. In the early s, cinema emerged as a central medium of artistic expression in the Soviet Union. Kino-Eye was also a reaction to overly “acted” films that Vertov despised. 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.