"The 'Kino-Eye' school demands that the construction of the film should be based on the 'intervals' of movement between different planes, on the correct relationship of these intervals to each other and on the movement of one visual impression to another...To find the best route for the eye of the spectator to penetrate the chaos of the mutual reactions, attractions, repulsions of images on each other: to reduce these innumerable 'intervals' to one simple equation, to one spectacular formula which presents, in the best possible way, the essential theme of the film."
- Dziga Vertov in 1920, speaking about his KinoEye group
Grice, Malcolm Le. Experimental Cinema in the Digital Age (Bfi Film Classics (Paperback)). British Film Institute, 2002. pg. 48
Subscribe to:
Post Comments (Atom)
1 comment:
This formal examination of Vertov's Kino-Eye reflects the studies of Eisentein - a focus on interralationships between images, as opposed to the images themselves. In ways, this equates a film as the backdrop for numerous dialogues that take place between objects.
Post a Comment