The Kino-Eye Montage Procedure as a Formal Experiment

Authors

  • Amra Latifić

DOI:

https://doi.org/10.25038/am.v0i15.227

Keywords:

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

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

Author Biography

Amra Latifić

Faculty of Media and Communications, Singidunum University, Belgrade
Serbia

Amra Latifić (1980) finished elementary school and the Philological gymnasium, Belgrade. In 2002 she graduated from the Faculty of Philology in Belgrade. Defended Ph.D. thesis “Postmodern interpretation of interdisciplinary theories and practice of the Russian and Soviet avant-garde from 1910 to 1932” in 2006 at the Department of Art and Media Theory, University of Arts in Belgrade. In the school year 2002/2003 she worked at the Faculty of Philosophy in Novi Sad, as an assistant. During the study, she spent several months in Russia and Italy where she studied languages and art. She has participated in numerous international and national conferences where she has presented her works. In 2008 she graduated from the Acting Department at the Faculty of Dramatic Arts in Belgrade. She has published the books Paradigm of the Russian avant-garde and postmodern art and The Idea of acting: performative artecosmism. She has translated from Russian Mikhail Epstein s book Sola Amore. She has moderated and participated in numerous stands from the field of art. She has also starred in several movies and TV series, and she is the author and performer of many performances.

References

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

On the cover: Provisional Salta Ensemble, Traces of the Experimental Film, 2018.

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Published

15.04.2018

How to Cite

Latifić, A. (2018). The Kino-Eye Montage Procedure as a Formal Experiment. AM Journal of Art and Media Studies, (15), 23–33. https://doi.org/10.25038/am.v0i15.227

Issue

No. 15 (2018): Issue No. 15, April 2018 - Main Topic: Experimental Film

Section

Main Topic: Experimental Film

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

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