Dziga Vertov Film Analysis - 1546 Words

Dziga Vertov was a Soviet film theorist and director who coined the term kino-eye to refer to the style of filming everyday life. Similar to the Constructivists, he was hoping to create novyi byt, or a new everyday life in a socialist society that would not fetishize the object. And in doing so, Vertov wanted to include the proletariat in this new wave of film that was previously dominated by the bourgeoisie and their aesthetics. The proletarians did not understand bourgeois films, they were not drawn into the story because they could not look over the fact that the actors were just that: actors. And it was even less believable for them to see actors portraying proletarians themselves, because the films had a theatrical quality that†¦show more content†¦This is what kino-eye is fighting against; Vertov wants the viewer to once again become conscious and free from the poisonous art-dramas. And so kino-eye calls for filming of facts and of the everyday lives of not the bourgeo isie, but the proletarians in both rural and urban settings, and in doing so, the viewers consciousness will once again be restored. Vertov was not alone in filming with kino-eye, he had a group of fellow directors and filmers, called kinoks, who worked with him, and, above all, their main duty was to observe and film all aspects of life. And so the kinoks must closely observe their environments to see how aspects of life are interconnected. Kino-eye places the focus on filming things that either the human eye does not see because it cannot see it or that the human eye is so used to seeing it that it is overlooked because it no longer stands out. Because films created using kino-eye display different aspects of life, kinoks will go to various cities and then bring their films back together, so a kino-eye film is not just the work of one kinok, but a collaborative effort by many. In doing do, the kinoks hope to eradicate the culture of bourgeois films that use actors, theatrics, and constructed sets. It is also important that, while kino-eye filming is somewhat planned and organized, it is never scripted. Vertovâ⠂¬â„¢s filmShow MoreRelatedTechnical Obsession And Modernity Of Cinematic Reception5738 Words   |  23 PagesTechnical Obsession and Modernity of Cinematic Reception Case Study: The Man with the Movie Camera; The Artist This chapter conducts a comparative study of two films, The Man with the Movie Camera (Vertov, 1929) and The Artist (Hazanavicius, 2011), examining how they reflect cinematic technical developments of the 1920s-1930s. Director Dziga Vertov depicted one day in a Soviet city around ten years after the 1917 October Revolution, which had seen the Czar overthrown and the establishment of Lenin?s BolshevikRead MoreTheory of Montage in Pudovkin’s, Eisenstein’s and Vertov’s movie.1007 Words   |  5 Pagesmontage of the film. 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