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http://dx.doi.org/10.5392/JKCA.2010.10.8.147

Dziga Vertov's Film Theory of Soviet Silent Film -By Comparison between Montage Theory of Sergei Eisenstein and Dziga Vertov Film Theory-  

Jeon, Pyoung-Kuk (경기대학교 영상학과)
Kim, Noh-Ik (경기대학교 일반대학원 영상예술학과)
Publication Information
The Journal of the Korea Contents Association / v.10, no.8, 2010 , pp. 147-158 More about this Journal
Abstract
The Soviet Silent Films in the 1920s, produced a brilliant prosperity in the history of world films in the cultural and artistic aspects. Among them, Dziga Vertov was a film theorists and a practitioner along with Sergei M. Einstein played a pivotal role in the contemporary soviet films at the time. But the film theories of Vetro is incorrectly recognized or specialized compared to the theories of Eisenstein. But Deleuze has stated that the short in the movie of Vertov is able to deliver a meaning and an impact and he has emphasized that a short can be significant by itself by focusing on the 'truth' which a documentary must have. His film theories are based on futurism and constructivism and use the 'kino-eye' method and 'Interval' theory to summarize and organize his movies into 'movie-truth' principal and 'life as itself' concept. Deleuze the purpose of this research is to analyze with the Vertov core of film theory and every theory of kino eye as the foundation and by comparing the Montage Theory of Sergei Eisenstein and applying Deleuze's Image Theory. Furthermore, it can be insufficient to discuss the film commercial achievements of Vertov as a result of inadequacy of previous research but it will further study his innovative methods and depth of his theories in his representation form in the documentary films.
Keywords
Silent Film; 1920s Soviet; Vertov; Eisenstein; Kinoeye;
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