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Cinematicity in Media History$
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Jeffrey Geiger and Karin Littau

Print publication date: 2013

Print ISBN-13: 9780748676118

Published to Edinburgh Scholarship Online: May 2014

DOI: 10.3366/edinburgh/9780748676118.001.0001

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Kino-Eye in Reverse: Visualizing Cinema

Kino-Eye in Reverse: Visualizing Cinema

Chapter:
(p.211) Chapter 12 Kino-Eye in Reverse: Visualizing Cinema
Source:
Cinematicity in Media History
Author(s):

Lev Manovich

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9780748676118.003.0013

This chapter, written by Lev Manovich, discusses digital visualizations of Dziga Vertov’s films. Manovich argues that Vertov’s desire for a ‘graphic language’ anticipates the recent work of a number of data visualization designers and artists who use computational analysis and computer graphics to visualize patterns in artistic works, including literary texts and films. Yet Manovich’s work also explores how new visualization techniques can help us comprehend cinema differently, revealing patterns and dimensions that are hard or impossible to study through established film analysis methods. Like a digital counterpart to what Vertov theorized as the Kino-Eye, the digital photography and software applications Manovich manipulates collectively extend and transform the capacities of the human eye and its relation to film. Manovich thus reveals a whole new science and aesthetics of cinema in the data sets, maps, patterns, and graphics that lie latent in the celluloid image.

Keywords:   Vertov, Visualization, Digital, Computer software, Motion tracking, Cinema aesthetics, Comparative media, Remediation

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