kino-glaz
Quick Summary
The term kino-glaz, or "film-eye," is a filmmaking theory developed by Soviet director Dziga Vertov. This theory posits that the camera, much like the human eye, should be used to capture the reality of actual events without artificial staging or theatrical influence. Vertov aimed to create a unique cinematic language focused on exploring real life.1
Vertov's work, including his newsreel series Kino-pravda ("Film Truth"), integrated newly filmed material with older footage to present factual accounts. He experimented with various camera techniques, such as different angles, slow motion, and attaching cameras to moving objects, to enhance the rhythmic flow and realism of his films. His theories significantly influenced the development of documentaries and cinema realism, particularly the cinéma vérité movement.1
Ask Britannica AI about this topic
Britannica doesn't have a full article on this topic, so we've curated a list of our relevant coverage.
Dziga Vertov…a Soviet motion-picture director whose kino-glaz (“film-eye”) theory—that the camera is an instrument, much like the human eye, that is best used to explore the actual happenings of real life—had an international impact on the development of documentaries and cinema realism during the 1920s. He attempted to create a unique…
Read More…a Soviet motion-picture director whose kino-glaz (“film-eye”) theory—that the camera is an instrument, much like the human eye, that is best used to explore the actual happenings of real life—had an international impact on the development of documentaries and cinema realism during the 1920s. He attempted to create a unique…
Read More
History of filmThe Soviet Union…of the theory of the kino-glaz (“cinema-eye”). Vertov articulated this doctrine in the early 1920s in a number of radical manifestos in which he denounced conventional narrative cinema as impotent and demanded that it be replaced with a cinema of actuality based on the “organization of camera-recorded documentary material.” Between…
Read More…of the theory of the kino-glaz (“cinema-eye”). Vertov articulated this doctrine in the early 1920s in a number of radical manifestos in which he denounced conventional narrative cinema as impotent and demanded that it be replaced with a cinema of actuality based on the “organization of camera-recorded documentary material.” Between…
Read More