Kinoks: Difference between revisions
m Robot: tagging short uncategorised article as stub |
|||
| (41 intermediate revisions by 35 users not shown) | |||
| Line 1: | Line 1: | ||
{{Short description|1920s Soviet collective of filmmakers}} |
|||
The '''Kinoks''' ({{langx|ru|'''Киноки'''|kino-oki|cinema-eyes}}) were a collective of Soviet filmmakers in the 1920s, consisting of [[Dziga Vertov]], [[Elisaveta Svilova|Elizaveta Svilova]] and [[Mikhail Kaufman]]. |
|||
According to Annette Michelson, Georges Sadoul states the collective was founded in 1922 <ref>{{cite book |last1=Michelson |first1=Annette |title=Kino-eye : the writings of Dziga Vertov |date=1984 |isbn=0-520-05630-2 |page=xxiv|publisher=University of California Press }}</ref> by Svilova, Vertov and Kaufman, and the painter Belyaev was a fourth member.<ref>{{cite book |last1=Michelson |first1=Annette |title=Kino-eye : the writings of Dziga Vertov |date=1984 |isbn=0-520-05630-2 |page=12|publisher=University of California Press }}</ref> However, in 1923 Svilova wrote an open letter to the journal LEF applying for admission to the Council of Three.<ref>{{cite journal |last1=Svilova |first1=Elizaveta |title=V sovet troikh. Zaiavlenie |journal=LEF |date=1923 |issue=4 |pages=220–221 |url=http://www.ruthenia.ru/sovlit/j/2942.html}}</ref> Scholars have interpreted this as a publicity stunt "to provide exposure of their work and to raise awareness of their commitment to documentary cinema" <ref>{{cite book |last1=Penfold |first1=Christopher |title=Elizaveta Svilova and Soviet Documentary Film |date=2013 |publisher=PhD dissertation, University of Southampton |location=Southampton |page=16 |url=https://eprints.soton.ac.uk/367302/}}</ref><ref>{{cite web |last1=Molcard |first1=Eva |title=Elizaveta Svilova |url=https://wfpp.columbia.edu/pioneer/elizaveta-svilova/ |website=Women Film Pioneers Project |publisher=Columbia University Libraries |accessdate=7 May 2020}}</ref> rather than an actual application, since Svilova had already been working with Vertov and Kaufman for several years. From 1922 to 1923 Vertov, Kaufman, and Svilova published a number of manifestos in avant-garde journals which clarified the Kinoks' positions vis-à-vis other leftist groups. |
|||
The most acclaimed work is undoubtedly the seminal city symphony, Man with a Movie Camera (1927). |
|||
| ⚫ | |||
The Kinoks argued strongly for documentary cinema and the use of [[hidden camera|candid cameras]] and filming workers instead of using actors.<ref>{{cite book |last1=Michelson |first1=Annette |title=Kino-eye : the writings of Dziga Vertov |date=1984 |isbn=0-520-05630-2 |page=xxiv|publisher=University of California Press }}</ref> They published a series of manifestos and statements in LEF, an avant-garde cinema journal. |
|||
The most acclaimed work is ''[[Man with a Movie Camera]]'' (1929).{{Citation needed|date=July 2022}} |
|||
==References== |
|||
{{Reflist}} |
|||
[[Category:Film organizations in the Soviet Union]] |
|||
[[Category:Movements in cinema]] |
|||
[[Category:Film collectives]] |
|||
{{film-studio-stub}} |
|||
| ⚫ | |||
Latest revision as of 03:56, 7 November 2024
The Kinoks (Russian: Киноки, romanized: kino-oki, lit. 'cinema-eyes') were a collective of Soviet filmmakers in the 1920s, consisting of Dziga Vertov, Elizaveta Svilova and Mikhail Kaufman.
According to Annette Michelson, Georges Sadoul states the collective was founded in 1922 [1] by Svilova, Vertov and Kaufman, and the painter Belyaev was a fourth member.[2] However, in 1923 Svilova wrote an open letter to the journal LEF applying for admission to the Council of Three.[3] Scholars have interpreted this as a publicity stunt "to provide exposure of their work and to raise awareness of their commitment to documentary cinema" [4][5] rather than an actual application, since Svilova had already been working with Vertov and Kaufman for several years. From 1922 to 1923 Vertov, Kaufman, and Svilova published a number of manifestos in avant-garde journals which clarified the Kinoks' positions vis-à-vis other leftist groups.
The Kinoks argued strongly for documentary cinema and the use of candid cameras and filming workers instead of using actors.[6] They published a series of manifestos and statements in LEF, an avant-garde cinema journal.
The most acclaimed work is Man with a Movie Camera (1929).[citation needed]
References
[edit]- ^ Michelson, Annette (1984). Kino-eye : the writings of Dziga Vertov. University of California Press. p. xxiv. ISBN 0-520-05630-2.
- ^ Michelson, Annette (1984). Kino-eye : the writings of Dziga Vertov. University of California Press. p. 12. ISBN 0-520-05630-2.
- ^ Svilova, Elizaveta (1923). "V sovet troikh. Zaiavlenie". LEF (4): 220–221.
- ^ Penfold, Christopher (2013). Elizaveta Svilova and Soviet Documentary Film. Southampton: PhD dissertation, University of Southampton. p. 16.
- ^ Molcard, Eva. "Elizaveta Svilova". Women Film Pioneers Project. Columbia University Libraries. Retrieved 7 May 2020.
- ^ Michelson, Annette (1984). Kino-eye : the writings of Dziga Vertov. University of California Press. p. xxiv. ISBN 0-520-05630-2.
 | This article about a film studio is a stub. You can help Wikipedia by expanding it. |
 | This Soviet Union–related article is a stub. You can help Wikipedia by expanding it. |
