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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Here’s an example of what they look like: At that time I specialized in factual film writing.

The Writings of Dziga Vertov. Feminism and Soviet Silent Film. Have you read this? There has been much debate over whether Kino-Eye was intended as an epistemological form, an emancipatory form, or even a scientific form. You can filter on reading intentions from the listas well as view them within your profile.

On the Organization of a Film Experiment Station. In fact, Kino-Eye was based more fundamentally on the techniques of the newsreel than on montage or any entertainment-filmmaking process.

The cinema of Eisenstein David Bordwell Snippet view – Over a decade after the Civil War inVertov wrote:. 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.


They wanted to capture “real life,” which they believed could only be achieved through the objectivity of Kino-Eye. Hicks writes, “In its very form Man with a Movie Camera is a defence of documentary. It is in the editing and cutting together of these fragments that meaning is made. We simply feel that the cinema’s chief function is the recording of documents, of facts, the recording of life, of historical processes. Still, the kinoks were not met with universal welcome.

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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 A Minute of the World. Edited by Yuri Tsivian, translated by Julian Kino-dye. What are reading intentions? The Writings of Dziga Vertov.

Kino-Eye: The Writings of Dziga Vertov – Dziga Vertov – Google Books

The kinoks believed that through their method of Kino-Eye they were “keeping stride with the worldwide proletarian te. Your reading intentions are also stored in your profile for future reference. 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. La Giornate del Cinema Muto. It was positioned diametrically opposite what the kinoks thought of writinga “staged” film.


The kinoks held that actors could only ever produce “pseudorealism” through a scripted film. Here’s an example of what they look like:.

Why the name Kino-Eye?

It was also the name of the movement and group that was defined by this technique. 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. Account Options Sign in. Kino and the Woman Question: A history of Russia: In the early s, cinema emerged as a central medium of artistic expression in the Soviet Union.

University of California Press.

Please kino-eue in to set a read status Setting a reading intention helps you organise your reading. It’s difficult to stand up against the cinema that is acted. 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.