Kino and the Woman Question: Feminism and Soviet Silent Film

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Kino and the Woman Question: Feminism and Soviet Silent Film

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Tags What are tags? Add a tag. Public Private login e. Add a tag Cancel Be the first to add a tag for this edition. Lists What are lists? Login to add to list. Be the first to add this to a list. Comments and reviews What are comments? Add a comment. 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"; [1] 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 montage , Kino-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.

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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 Hollywood , and it was not until that Soviet-made films outsold imported films in the box office. Kino-Eye developed as a response to 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 harness cinema's incredible dynamism and the use of the close-up , but wanted to explore these forms even more deeply with Kino-Eye. Jay Leyda writes:.

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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 in , Vertov wrote:. One thing 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.

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Tretia Meshchanskaia - Film (Movie) Plot and Review

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 truth. 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. In , Vertov 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.

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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.

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