Uploaded April 2014 | Updated September 2026, 4 days ago
This segment from a KINO-EYE of 1924 embodies both sides of Vertov's aesthetic, both the stern and politically-attuned educator, who shows his spectators exemplary Soviet citizens, and the playful experimenter probing the limits of the movie camera, whether by turning it backwards, or by developing its own narrative logic
This segment from a KINO-EYE of 1924 embodies both sides of Vertov's aesthetic, both the stern and politically-attuned educator, who shows his spectators exemplary Soviet citizens, and the playful experimenter probing the limits of the movie camera, whether by turning it backwards, or by developing its own narrative logic
