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.