The Kino-Eye Montage Procedure as a Formal Experiment

Amra Latifić

Abstract


This text presents an analysis of the relationship between Kino-Eye, the Russian montage technique that was most clearly demonstrated by Dziga Vertov in his 1929 film The Man with a Movie Camera, and Russian Formalist theory, which underwent an intensive period of development during the 1920s. Russian Formalism, established primarily as a theory of literature, was likewise applied in film and the visual arts. A dominant characteristic of Soviet film authors and theorists from the avant-garde period was a preoccupation with linguistic aspects and an understanding of film itself in terms of language. Transposing Viktor Shklovsky’s notion of defamiliarization [остранение, ostranenie] to the visual experience of Vertov’s film contributes to an additional understanding of the usage of unconventional camera angles, diagonal camera positions, as well as to the interpreting of the Kino-Eye montage procedure. The experimental montage procedure of Kino-Eye is posited as an attempt to decode the world through the lens of a film camera, while understanding this procedure is linked to the impact of Shklovsky and Russian Formalism on Russian 1920s cinema.

 

Article received: December 15, 2017; Article accepted: December 30, 2017; Published online: April 15, 2018; Original scholarly paper

 

How to cite this article: Latifić, Amra. "The Kino-Eye Montage Procedure as a Formal Experiment." AM Journal of Art and Media Studies 15 (2018): 23–33. doi: 10.25038/am.v0i15.227


Keywords


the Kino-Eye montage procedure; Russian Formalist school; avant-garde; film; montage

Full Text:

PDF

References


Ejhenbaum, Boris. Književnost. Beograd: Nolit, 1972.

Genis, Aleksandar. “Šavovi vremena. Trougao: avangarda, socrealizam, postmodernizam.” Letopis Matice srpske 466, 7–8 (2000): 100–24.

Ilić, P. Mihailo. Serbian Cutting. Beograd: Filmski centar Srbije, 2008.

Kaufman, Mikhail. “An Interview with Mikhail Kaufman.” October (Essays in Honor of Jay Leyda ) 11 (Winter, 1979): 65. doi: 10.2307/778235

Leksikon filmskih i televizijskih pojmova, Univerzitet umetnosti u Beogradu, CD-ROM.

Manovich, Lev. “Avant-garde as Software.” http://manovich.net/content/04-projects/027-avant-garde-as-software/24_article_1999.pdf. Accessed January 10, 2018.

Manovič, Lev. Metamediji. Izbor tekstova. Beograd: Centar za savremenu umetnost, 2001.

Michelson, Annette. “From Magician to Epistemologist: Vertov’s The Man with a Movie Camera.” In: The Essential Cinema: Essays on Films in the Collection of Anthology Film Archives, edited by Sitney, P. Adams, 95–111. New York: New York University Press, 1975.

Omon, Žak. Teorije sineasta. Beograd: Clio, 2006.

Parkinson, David. History of Film. London: Thames & Hudson Ltd., 2002.

Roberts, Graham. The Man with the Movie Camera. London: New York, I. B. Tauris, 2000.

Shklovsky, Viktor and Sher Benjamin. Theory of Prose. Elmwood Park, IL: Dalkey Archive Press, 1990.

Stojanović, Dušan. Teorija filma. Beograd: Nolit, 1978.

Šklovski, Viktor. Energija zablude. Knjiga o sižeu. Beograd: Prosveta, 1985.




DOI: http://dx.doi.org/10.25038/am.v0i15.227

Refbacks

  • There are currently no refbacks.


Copyright (c) 2018 AM Journal of Art and Media Studies

Creative Commons License
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

The content on this site is licensed under a Creative Commons Attribution 4.0 International License.

AM Journal of Art and Media Studies ISSN 2217-9666 - printed, ISSN 2406-1654 - online, UDK 7.01:316.774

Contact: amjournal@outlook.com

Publisher: Faculty of Media and Communications, Singidunum University, Belgrade, Serbia

Indexed in: ERIH PLUSEBSCODOAJ, and in The List of Scientific Journals Categorization of Ministry of Education, Science and Technological Development of Republic of Serbia (M52). Beginning with No. 12 2017, AM is indexed, abstracted and covered in Clarivate Analytics service ESCI.