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Kinoks To

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Kinoks To

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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.

Author Osip Brik espoused Kino-Eye as a model for all Soviet film production. 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 others , the 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 socialism , as 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. Several films did gain national and even international recognition, such as Vertov's Three Songs of Lenin and Enthusiasm.

Largely considered Vertov's lone masterpiece, [16] Man with a Movie Camera is the greatest example of Kino-Eye.

According to Vertov, it required more work than his previous Kino-Eye films because of its complexity in both filming and editing. Vertov thought of 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.

From Wikipedia, the free encyclopedia. This article is an orphan , as no other articles link to it.

Please introduce links to this page from related articles ; try the Find link tool for suggestions. June Play media. The Politics of the Soviet Cinema New York: Cambridge University Press.

Kino-Eye: The Writings of Dziga Vertov. Edited by Annette Michelson, translated by Kevin O'Brien. Los Angeles: University of California Press. Kino: A history of the Russian and Soviet Film.

Princeton: Princeton University Press. New York: I. Kino and the Woman Question: Feminism and Soviet Silent Film. Columbus: Ohio State University Press.

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3 Kommentare zu „Kinoks To“

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