While preceding studies have examined Vertovian theory with keywords like ‘life as it is,’ ‘life caught unaware,’ ‘kino-eye,’ etc., this study analyzes it through another word — ‘connection(sviaz’).’ Albeit it is not a frequently used keyword in research on Vertovian theory, he emphasized this word ...
While preceding studies have examined Vertovian theory with keywords like ‘life as it is,’ ‘life caught unaware,’ ‘kino-eye,’ etc., this study analyzes it through another word — ‘connection(sviaz’).’ Albeit it is not a frequently used keyword in research on Vertovian theory, he emphasized this word numerous times in his essays and speeches. It is not only the core principle of his filmmaking and its impact on the audience but also the final aim of his film.
Vertov’s special film crew, ‘kinoki,’ is the connection between machine and human. They are ‘cinematic men,’ who can see the truth in life, what ordinary people cannot see. Additionally, their inner circle, ‘Council of Three,’ represents Vertov’s ideal socialist community and filmmaking group. It enables the realization of his idea. This particular group shares common aim, values, and ideology with Vertov, so they are all mentally connected. They work in a horizontal relationship with each other and do their job actively, not wholly because of Vertov’s directions. By capturing the truth in life and editing footage, which occurs in the whole filmmaking process, they produce a film as one kind of total reality.
However, his film does not complete until it encounters its audience. Vertovian film, as an ‘electric wave’ or ‘electric stimulus,’ provides them ‘kino-sense,’ which indicates both sensory and cognitive impact generated only by his film. His strong direction to ‘film-truth’ is the agent for ‘kino-sense.’ The high ontological authenticity of his film makes the audience to realize people in the screen as one of ‘us,’ and the reality in the screen as the extension of ‘our’ lives. Even though Eisenstein also insisted on the cinematic impact on the audience as a stimulus, the particularity of Vertovian theory appears in his critical concept — ‘film-truth.’
While preceding studies have examined Vertovian theory with keywords like ‘life as it is,’ ‘life caught unaware,’ ‘kino-eye,’ etc., this study analyzes it through another word — ‘connection(sviaz’).’ Albeit it is not a frequently used keyword in research on Vertovian theory, he emphasized this word numerous times in his essays and speeches. It is not only the core principle of his filmmaking and its impact on the audience but also the final aim of his film.
Vertov’s special film crew, ‘kinoki,’ is the connection between machine and human. They are ‘cinematic men,’ who can see the truth in life, what ordinary people cannot see. Additionally, their inner circle, ‘Council of Three,’ represents Vertov’s ideal socialist community and filmmaking group. It enables the realization of his idea. This particular group shares common aim, values, and ideology with Vertov, so they are all mentally connected. They work in a horizontal relationship with each other and do their job actively, not wholly because of Vertov’s directions. By capturing the truth in life and editing footage, which occurs in the whole filmmaking process, they produce a film as one kind of total reality.
However, his film does not complete until it encounters its audience. Vertovian film, as an ‘electric wave’ or ‘electric stimulus,’ provides them ‘kino-sense,’ which indicates both sensory and cognitive impact generated only by his film. His strong direction to ‘film-truth’ is the agent for ‘kino-sense.’ The high ontological authenticity of his film makes the audience to realize people in the screen as one of ‘us,’ and the reality in the screen as the extension of ‘our’ lives. Even though Eisenstein also insisted on the cinematic impact on the audience as a stimulus, the particularity of Vertovian theory appears in his critical concept — ‘film-truth.’
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