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Kino-Eye (Anglophonic: Cine-Eye) is a film technique developed in Soviet Union by Dziga Vertov. It was also the name of the movement and group that was defined by this technique.
Dziga Vertov was a Soviet motion-picture director whose kino-glaz (“film-eye”) theory—that the camera is an instrument, much like the human eye, that is best used to explore the actual happenings of real life—had an international impact on the development of documentaries and cinema realism during.
Feb 18, 2021 · 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.
Dziga Vertov believed his concept of Kino-Glaz, or "Cine Eye" in English, would help contemporary "man" evolve from a flawed creature into a higher, more precise form.
Vertov's radical film theories at their most vivid, Kino-Eye embraces ultra-high speed photography, microcinematography, and multiple exposures to advance cinema as an art. With Kino-Pravda No. 23 (Radio Pravda). (141 mins)
About the Book. Dziga Vertov was one of the greatest innovators of Soviet cinema. The radical complexity of his work—in both sound and silent forms—has given it a central place within contemporary theoretical inquiry.
Dec 18, 2016 · Kino Eye (1924) documentary. This documentary promoting the joys of life in a Soviet village centers around the activities of the Young Pioneers. These children are constantly busy, pasting ...
Kino Eye: Directed by Dziga Vertov. This documentary promoting the joys of life in a Soviet village centers around the activities of the Young Pioneers.
The Kinoks movement (from “kino-eye”) was a 1920s Russian avant-garde film movement led by Dziga Vertov. It focused on the idea that the camera, or “kino-eye,” could capture reality more truthfully than the human eye.
Feb 11, 2012 · This one of kind series reveals Vertov’s exhilarating body of work to be, not a succession of individual films, but one continuously evolving movie. “Free of the limits of time and space,” Vertov wrote, his films would lead to “a fresh perception of the world” and a revolutionary passage from the Old to the New.
