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

소비에트 무성영화의 지가 베르토프 영화이론 -세르게이 에이젠슈테인의 몽타주론을 비교중심으로-

  • 전평국 (경기대학교 영상학과) ;
  • 김노익 (경기대학교 일반대학원 영상예술학과)
  • Received : 2010.03.30
  • Accepted : 2010.08.23
  • Published : 2010.08.28


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.


Silent Film;1920s Soviet;Vertov;Eisenstein;Kinoeye


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