A mechanical eye. I am the machine that reveals the world to you as only the machine can see it. I am now free of human immobility. I am in perpetual motion. I approach things, I move away from them. I slip under them, into them.
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A mechanical eye. I am the machine that reveals the world to you as only the machine can see it. I am now free of human immobility. I am in perpetual motion. I approach things, I move away from them. I slip under them, into them. I move toward the muzzle of a race horse. I move quickly through crowds, I advance ahead of the soldiers in an assault, I take off with airplanes, I fall on my back ad get up at the same time that the body falls and gets up. This is what I am, a machine that runs in chaotic maneuvers, recording movements one after the other, assembling them in a patchwork.
Freed from the constraints of time and space, I organize each point of the universe as I wish. My route is that of a new conception of the world. I can make you discover the world you did not know existed.
This Blu-ray edition brings together four key films from the oeuvre of Dziga Vertov. He was inspired by the Futurist movement as well as the French avant-garde.
For Vertov, the camera lens was an extension of the human eye. The film reveals the joie de vivre of Soviet youth in a small village taking hold of their destiny, and building the future of the Soviet revolution.
This film was released in both silent and sound versions, so that it could be shown in the Soviet Union in theaters that were not yet equipped for sound. The film was made during the rise of Stalin, and thus, suffered re-edits in the cause of Soviet Realism. To order call: All rights reserved. View fullsize.
It was also the name of the movement and group that was defined by this technique. Kino-Eye was Vertov's means of capturing what he believed to be "inaccessible to the human eye";  that is, Kino-Eye films would not attempt to imitate how the human eye saw things. Rather, by assembling film fragments and editing them together in a form of montage , Kino-Eye hoped to activate a new type of perception by creating "a new filmic, i. In the early s, cinema emerged as a central medium of artistic expression in the Soviet Union.
Vertov's younger brothers Boris Kaufman and Mikhail Kaufman were also noted filmmakers, as was his wife, Yelizaveta Svilova. The Kaufmans soon settled in Petrograd , where Vertov began writing poetry , science fiction , and satire. In — Vertov was studying medicine at the Psychoneurological Institute in Saint Petersburg and experimenting with "sound collages" in his free time. He eventually adopted the name "Dziga Vertov", which translates loosely from Ukrainian as 'spinning top'. Vertov is known for many early writings, mainly while still in school, that focus on the individual versus the perceptive nature of the camera lens, which he was known to call his "second eye". Most of Vertov's early work was unpublished, and few manuscripts survived after the Second World War , though some material surfaced in later films and documentaries created by Vertov and his brothers, Boris Kaufman and Mikhail Kaufman.