Analysis of Vertovs Film

In Clown Player 's 1991 film "Drug Movie", the credibility of cinematic art that could not be used since Robert Rossellini' s victory "Rome, Open City" was brought to the height of realism. By combining realistic settings, lighting, sound etc. with a sharp observation camera arrangement, filmmakers bring us to the world we actually see outside theatrical comfort. An article on Dziga Vetov's human race seen through "Kino-Eye" touched obviously a very clear story of the creator of the "drag movie".

Thinking widely as Vertov's only masterpiece, those with movie cameras are the best examples of Kino-Eye. According to Vertov, photography and editing are complex, so more work is needed than the previous Kino-Eye film. Without words and headlines, it relies entirely on the visual language of the movie to fully convey its story from drama and literary languages. Vertov believes that this film is the culmination of his former Kino-Eye character.

Kino-Eye (Anglophonic: Cine-Eye) is a film technology developed by Soviet Russian Dziga Vertov. It is also the name of the movement and group defined by this technique. Kino-Eye is a means to capture what Vertov thinks "I can not enter the human eye"; that is, the Kino-Eye movie does not try to imitate what the human eye is seeing. Instead, by combining movie clips and editing them together in the form of a montage, Kino-Eye is by creating a new perception, "a new movie, a form of media, reality, information, or information illusion" I want to revitalize the field of meaning. "Unlike the story entertainment movie format and other" action "movies, Kino-Eye captures life unconsciously and edits it together to form a new truth that has never been seen .

Kinoan answered what happened in most Soviet movies when Vertov entered the stage. He wants a revolutionary form, a form that can express the truth, as most believe that "performance" movies are not so. Wiltov believes that American action movies are the first movie to exploit its incredible power and closeup, but I'd like to explore these movies deeper with Kino-Eye. Supporters like montages and new technologies of Kressov and Eisenstein began to change the landscape of Soviet movies, but Quelinf's Quinoa has gained popularity due to its universality. Jay Ryder wrote: