Week 4 - Dziga Vertov

I really liked:

"Example: the filming of a group of dancers, not from the point of view of a spectator sitting in the auditorium with a ballet on the stage before him. After all, the spectator at a ballet follows, in confusion, now the combined group of dancers, now random individual figures, now someone's legs-a series of scattered perceptions, different for each spectator."

- I like this because everything is based on your frame of perception. I think that using ballet was a wonderful example. Each viewer is different honestly. Who knows about ballet? who doesn't? what does it remind them of? it's great...

I really liked when he talked about kino-eye too, "The weakness of the human eye is manifest. We affirm the kino-eye, discovering within the chaos of movement the result of the kino-eye's own movement; we affirm the kino-eye with its own dimensions of time and space, growing in strength and potential to the point of self-affirmation." Honestly I think that this is true from how he goes on to explain his kino-eye. I really appreciate his evaluation.

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