After our last lecture on Thursday it become more clear for me what to do for my Kino project. I started by watching Dziga Vertov’s film Man with a Movie Camera from 1929. It is experimental silent documentary and it is very well known by the various of cinematic techniques such as double exposures, fast motion, slow motion, freeze frames, jump cuts a lot of extreme close ups and many more. Every time that I watched the documentary I found something new.
This is a perfect example for me to understand what is he means by the term ‘Kino eye’. So ‘Kino Eye’ or ‘Cine Eye’ is a montage method developed by Vertov in his Manifesto in 1922. He believes that
“The Cine-Еуе is the art оf organising the necessary movements of objects in space and time into а rhythmic artistic whole, in accordance with the characteristics оf the whole and the internal rhythm оf each object”.
My understanding of the theory is that kino eye is kino-seeing the way you see through the camera and kino-writing is the way you write on film with the camera and finally kino-organization the way you edit. Kino-Eye uses every possible means in montage, comparing and linking all points of the universe in any temporal order, breaking, when necessary, all the laws and conventions of film construction.
Vertov’s theory of montage called the Soviet theory of montage is very useful for the editing process of my Kino project. The theory shows that “a series of connected images allows for complex ideas to be extracted from a sequence and, when strung together, constitute the entirety of a film’s ideological and intellectual power “. In other words “the editing of shots rather than the content of the shot alone constitutes the force of a film”. In order to do that successfully I need to start experimenting with the editing.
Thanks to the last lecture I understood that seeing through the camera, where and how you point the camera and how you edit are the most important stages that I need to follow for the Kino project.