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Kino-Eye (film)
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 "inaccessible to the human eye";Bulgakowa, Oksana. 2008. "The Ear against the Eye: Vertov's symphony." ''Kieler Beiträge zur Filmmusikforschung'' (2): 142-158. p. 142 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.e., media shaped, reality and a message or an illusion of a message - a semantic field." Distinct from narrative entertainment cinema forms or otherwise "acted" films, Kino-Eye sought to capture "life unawares" and edit it together in such a way that it would form a new, previously unseen truth. History In the early 1920s, cinema e ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cinematic Techniques
This article contains a list of cinematic techniques that are divided into categories and briefly described. Basic definitions of terms ;180-degree rule :A continuity editorial technique in which sequential shots of two or more actors within a scene are all shot with the camera on one side of the two actors so that a coherent spatial relationship and eyeline match are maintained. ;Airborne shot :A shot taken from an aerial device, generally while moving. This technique has gained popularity in recent years due to the popularity and growing availability of drones. ;Arc :A dolly shot where the camera moves in an arc along a circular or elliptical radius in relation to the subject ("arc left" or "arc right") ;Backlighting (lighting design) :The main source of light is behind the subject, silhouetting it, and directed toward the camera. ;Bridging shot :A shot used to cover a jump in time or place or other discontinuity. Examples are a clock face showing advancing time, falling cal ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Man With A Movie Camera By Dziga Vertov
A man is an adult male human. Prior to adulthood, a male human is referred to as a boy (a male child or adolescent). Like most other male mammals, a man's genome usually inherits an X chromosome from the mother and a Y chromosome from the father. Sex differentiation of the male fetus is governed by the SRY gene on the Y chromosome. During puberty, hormones which stimulate androgen production result in the development of secondary sexual characteristics, thus exhibiting greater differences between the sexes. These include greater muscle mass, the growth of facial hair and a lower body fat composition. Male anatomy is distinguished from female anatomy by the male reproductive system, which includes the penis, testicles, sperm duct, prostate gland and the epididymis, and by secondary sex characteristics, including a narrower pelvis, narrower hips, and smaller breasts without mammary glands. Throughout human history, traditional gender roles have often defined ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Enthusiasm (film)
''Enthusiasm: The Symphony of Donbas'' (Ukrainian: Ентузіязм: Симфонія Донбасу or Entuziiazm: Symfoniia Donbasu, Russian: Энтузиазм: Симфония Донбасса), also referred to as ''Donbas Symphony'' or ''The Symphony of the Donbas Basin'', is a 1931 sound film directed by Soviet filmmaker Dziga Vertov. The film was the director's first sound film and also the first of the Soviet production company . The film's score is considered experimental and avant-garde because of its incorporation of factory, industrial, and other machine sounds; human speech plays only a small role in the film's sounds. Vertov himself described ''Enthusiasm'' as "the lead icebreaker in the column of sound newsreels." He considered the film's "complex interaction of sound with image" to be the work's most significant achievement. The director viewed the film as an extended experiment in which the juxtaposition and misalignment of sound were completely intentional. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Three Songs About Lenin
''Three Songs About Lenin'' (russian: Три песни о Ленине, 1934) is a documentary sound film by Ukrainian-Russian filmmaker Dziga Vertov. It is based on three admiring songs sung by anonymous people in Soviet Russia about Vladimir Ilyich Lenin. It is made up of 3 episodes and is 57 minutes long. In 1969 it was re-edited by Elizaveta Svilova, Ilya Kopalin and Serafima Pumpyanskaya as part of the 1970 Lenin centenary. The songs in the film The film opens with some texts on Lenin, and then continue with three episodes. The first episode opens with the music from the second movement of Beethoven's piano sonata Pathétique, adapted for orchestra. It then moves to the first song ''My face was in a gloomy prison''. The first episode lasts about 19 minutes. The second episode opens with the third movement (funeral march) of Chopin's piano sonata in b-flat minor, adapted for orchestra. In the middle section of the second song, Vertov uses Wagner's '' Siegfried's Funeral ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Soviet Socialism
The ideology of the Communist Party of the Soviet Union (CPSU) was Bolshevist Marxism–Leninism, an ideology of a centralised command economy with a vanguardist one-party state to realise the dictatorship of the proletariat. The Soviet Union's ideological commitment to achieving communism included the development of socialism in one country and peaceful coexistence with capitalist countries while engaging in anti-imperialism to defend the international proletariat, combat capitalism and promote the goals of communism. The state ideology of the Soviet Union—and thus Marxism–Leninism—derived and developed from the theories, policies and political praxis of Lenin and Stalin. Marxism–Leninism Marxism–Leninism was the ideological basis for the Soviet Union. It explained and legitimised the CPSU's right to rule, while explaining its role as a vanguard party. For instance, the ideology explained that the CPSU's policies, even if they were unpopular, were correct because ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Documentary Film
A documentary film or documentary is a non-fictional film, motion-picture intended to "document reality, primarily for the purposes of instruction, education or maintaining a Recorded history, historical record". Bill Nichols (film critic), Bill Nichols has characterized the documentary in terms of "a filmmaking practice, a cinematic tradition, and mode of audience reception [that remains] a practice without clear boundaries". Early documentary films, originally called "actuality films", lasted one minute or less. Over time, documentaries have evolved to become longer in length, and to include more categories. Some examples are Educational film, educational, observational and docufiction. Documentaries are very Informational listening, informative, and are often used within schools as a resource to teach various principles. Documentary filmmakers have a responsibility to be truthful to their vision of the world without intentionally misrepresenting a topic. Social media platfor ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Osip Brik
Osip Maksimovich Brik (russian: link=no, Óсип Макси́мович Брик) (16 January 1888 – 22 February 1945), was a Russian avant garde writer and literary critic, who was one of the most important members of the Russian formalist school, though he also identified himself as one of the Futurists. Brik was born and grew up in Moscow, the son of a wealthy Jewish jeweler. In the university, Brik studied law; his friend Roman Jakobson wrote: "For his doctoral thesis he wanted to write about the sociology and juridical status of prostitutes and would frequent the boulevards. All the prostitutes there knew him, and he always defended them, for free, in all their affairs, in their confrontations with the police and so on." But he soon found himself far more interested in poetry and poetics and devoted all his time to it, becoming one of the founders of OPOJAZ and writing one of the first important formalist studies of sounds in poetryZvukovye povtory("Sound repetitions ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Man With A Movie Camera
''Man with a Movie Camera'' (russian: Человек с киноаппаратом, translit=Chelovek s kinoapparatom) is an experimental 1929 Soviet silent documentary film, directed by Dziga Vertov, filmed by his brother Mikhail Kaufman, and edited by Vertov's wife Yelizaveta Svilova. Kaufman also appears as the eponymous Man of the film. Vertov's feature film, produced by the film studio All-Ukrainian Photo Cinema Administration (VUFKU), presents urban life in Moscow, Kyiv and Odesa during the late-1920s.facsimile It has no actors. From dawn to dusk Soviet citizens are shown at work and at play, and interacting with the machinery of modern life. To the extent that it can be said to have "characters", they are the cameramen of the title, the film editor, and the modern Soviet Union they discover and present in the film. ''Man with a Movie Camera'' is famous for the range of cinematic techniques Vertov invented, employed or developed, such as multiple exposure, fast motion, s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kinoks
The Kinoks (russian: Киноки, kino-oki, cinema-eyes) were a collective of Soviet filmmakers in the 1920s, consisting of Dziga Vertov, Elizaveta Svilova and Mikhail Kaufman. According to Annette Michelson, Georges Sadoul states the collective was founded in 1922 by Svilova, Vertov and Kaufman, and the painter Belyaev was a fourth member. However, in 1923 Svilova wrote an open letter to the journal LEF applying for admission to the Council of Three. Scholars have interpreted this as a publicity stunt "to provide exposure of their work and to raise awareness of their commitment to documentary cinema" rather than an actual application, since Svilova had already been working with Vertov and Kaufman for several years. From 1922 to 1923 Vertov, Kaufman, and Svilova published a number of manifestos in avant-garde journals which clarified the Kinoks' positions vis-à-vis other leftist groups. The Kinoks argued strongly for documentary cinema and the use of candid cameras and filmin ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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