{"id":7665,"date":"2024-09-20T13:52:53","date_gmt":"2024-09-20T13:52:53","guid":{"rendered":"https:\/\/follow-the-things.onyx-sites.io\/?p=7665"},"modified":"2026-03-06T11:01:11","modified_gmt":"2026-03-06T11:01:11","slug":"kino-eye","status":"publish","type":"post","link":"https:\/\/followthethings.com\/?p=7665","title":{"rendered":"Kopuchiska&#8217;s Mother Is Shopping For Meat"},"content":{"rendered":"\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Kino Eye (1924) documentary\" width=\"980\" height=\"735\" src=\"https:\/\/www.youtube.com\/embed\/0nsLP25mUp0?start=421&#038;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<div style=\"height:20px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div class=\"wp-block-columns is-not-stacked-on-mobile has-small-font-size is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:7.99%\">\n<figure class=\"wp-block-image size-full is-resized has-custom-border wp-duotone-unset-1\"><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/follow-the-things.onyx-sites.io\/wp-content\/uploads\/2024\/08\/ftt-ladybird-geoblogs.jpg\" alt=\"\" class=\"wp-image-135\" style=\"border-radius:100px;object-fit:cover;width:43px;height:auto\"\/><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:92.01%\">\n<p class=\"has-normal-font-size\"><strong>followthethings.com<\/strong><br><a href=\"https:\/\/follow-the-things.onyx-sites.io\/?page_id=303\" data-type=\"page\" data-id=\"303\">Grocery<\/a><br><\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-buttons has-custom-font-size is-horizontal is-content-justification-left is-layout-flex wp-container-core-buttons-is-layout-bc275726 wp-block-buttons-is-layout-flex\" style=\"font-size:10px\">\n<div class=\"wp-block-button is-style-outline is-style-outline--2\"><a class=\"wp-block-button__link has-cyan-bluish-gray-color has-white-background-color has-text-color has-background has-link-color has-custom-font-size wp-element-button\" href=\"https:\/\/follow-the-things.onyx-sites.io\/?tag=1924\" style=\"border-radius:5px;font-size:12px\">1924<\/a><\/div>\n\n\n\n<div class=\"wp-block-button is-style-outline is-style-outline--3\"><a class=\"wp-block-button__link has-white-color has-black-background-color has-text-color has-background has-link-color has-custom-font-size wp-element-button\" href=\"https:\/\/follow-the-things.onyx-sites.io\/?tag=co-operative\" style=\"border-radius:5px;font-size:12px\">C0-OPERATIVE<\/a><\/div>\n\n\n\n<div class=\"wp-block-button is-style-outline is-style-outline--4\"><a class=\"wp-block-button__link has-white-color has-vivid-red-background-color has-text-color has-background has-link-color has-custom-font-size wp-element-button\" href=\"https:\/\/follow-the-things.onyx-sites.io\/?tag=fresh-beef\" style=\"border-radius:5px;font-size:12px\">FRESH BEEF<\/a><\/div>\n\n\n\n<div class=\"wp-block-button is-style-outline is-style-outline--5\"><a class=\"wp-block-button__link has-black-color has-white-background-color has-text-color has-background has-link-color has-custom-font-size wp-element-button\" href=\"https:\/\/follow-the-things.onyx-sites.io\/?tag=origin-russia\" style=\"border-radius:5px;font-size:12px\">RAISED IN RUSSIA<\/a><\/div>\n\n\n\n<div class=\"wp-block-button is-style-outline is-style-outline--6\"><a class=\"wp-block-button__link has-black-color has-white-background-color has-text-color has-background has-link-color has-custom-font-size wp-element-button\" href=\"https:\/\/follow-the-things.onyx-sites.io\/?tag=destination-russia\" style=\"border-radius:5px;font-size:12px\">PURCHASED IN RUSSIA<\/a><\/div>\n\n\n\n<div class=\"wp-block-button is-style-outline is-style-outline--7\"><a class=\"wp-block-button__link has-white-color has-vivid-purple-background-color has-text-color has-background has-link-color has-custom-font-size wp-element-button\" href=\"https:\/\/follow-the-things.onyx-sites.io\/?tag=documentary-film\" style=\"border-radius:5px;font-size:12px\">DOCUMENTARY FILM<\/a><\/div>\n\n\n\n<div class=\"wp-block-button is-style-outline is-style-outline--8\"><a class=\"wp-block-button__link has-white-color has-luminous-vivid-orange-background-color has-text-color has-background has-link-color has-custom-font-size wp-element-button\" href=\"https:\/\/follow-the-things.onyx-sites.io\/?tag=change-consumer-behaviour\" style=\"border-radius:5px;font-size:12px\">CHANGE CONSUMER BEHAVIOUR<\/a><\/div>\n\n\n\n<div class=\"wp-block-button is-style-outline is-style-outline--9\"><a class=\"wp-block-button__link has-vivid-red-color has-white-background-color has-text-color has-background has-link-color has-custom-font-size wp-element-button\" href=\"https:\/\/follow-the-things.onyx-sites.io\/?tag=choose-the-right-thing\" style=\"border-radius:5px;font-size:12px\">CHOOSE THE RIGHT THING<\/a><\/div>\n\n\n\n<div class=\"wp-block-button is-style-outline is-style-outline--10\"><a class=\"wp-block-button__link has-vivid-red-color has-white-background-color has-text-color has-background has-link-color has-custom-font-size wp-element-button\" href=\"https:\/\/follow-the-things.onyx-sites.io\/?tag=choose-an-audience\" style=\"border-radius:5px;font-size:12px\">CHOOSE AN AUDIENCE<\/a><\/div>\n\n\n\n<div class=\"wp-block-button is-style-outline is-style-outline--11\"><a class=\"wp-block-button__link has-vivid-red-color has-white-background-color has-text-color has-background has-link-color has-custom-font-size wp-element-button\" href=\"https:\/\/follow-the-things.onyx-sites.io\/?tag=take-it-to-pieces\" style=\"border-radius:5px;font-size:12px\">TAKE IT TO PIECES<\/a><\/div>\n\n\n\n<div class=\"wp-block-button is-style-outline is-style-outline--12\"><a class=\"wp-block-button__link has-vivid-red-color has-white-background-color has-text-color has-background has-link-color has-custom-font-size wp-element-button\" href=\"https:\/\/follow-the-things.onyx-sites.io\/?tag=join-the-dots\" style=\"border-radius:5px;font-size:12px\">JOIN THE DOTS<\/a><\/div>\n\n\n\n<div class=\"wp-block-button is-style-outline is-style-outline--13\"><a class=\"wp-block-button__link has-vivid-red-color has-white-background-color has-text-color has-background has-link-color has-custom-font-size wp-element-button\" href=\"https:\/\/follow-the-things.onyx-sites.io\/?tag=follow-the-thing\" style=\"border-radius:5px;font-size:12px\">FOLLOW THE THING<\/a><\/div>\n\n\n\n<div class=\"wp-block-button is-style-outline is-style-outline--14\"><a class=\"wp-block-button__link has-vivid-red-color has-white-background-color has-text-color has-background has-link-color has-custom-font-size wp-element-button\" href=\"https:\/\/follow-the-things.onyx-sites.io\/?tag=encourage-a-buycott\" style=\"border-radius:5px;font-size:12px\">ENCOURAGE A BUYCOTT<\/a><\/div>\n\n\n\n<div class=\"wp-block-button is-style-outline is-style-outline--15\"><a class=\"wp-block-button__link has-vivid-red-color has-white-background-color has-text-color has-background has-link-color has-custom-font-size wp-element-button\" href=\"https:\/\/follow-the-things.onyx-sites.io\/?tag=make-it-incomplete\" style=\"border-radius:5px;font-size:12px\">MAKE IT INCOMPLETE<\/a><\/div>\n<\/div>\n\n\n\n<p class=\"has-background\" style=\"background-color:#f6f0ec\">&#8220;<strong>Kopuchiska&#8217;s Mother Is Shopping For Meat<\/strong>&#8220;<br>A scene from a documentary film called &#8216;Kino-Eye&#8217;, directed by Dziga Vertov. <br>Film embedded above, scene starts at 7.00 and finishes at 14.08. Search online to stream <a href=\"https:\/\/www.google.com\/search?client=firefox-b-d&amp;q=stream+%22kino-eye%22+vertov\">here<\/a> and to buy DVD <a href=\"https:\/\/www.google.com\/search?q=DVD+%22kino-eye%22+vertov&amp;client=firefox-b-d&amp;sca_esv=7aa1caabb4121f2c&amp;sca_upv=1&amp;ei=y8H6ZvKRFve6hbIP6sCuiQ0&amp;ved=0ahUKEwiyo8X8--qIAxV3XUEAHWqgK9EQ4dUDCA8&amp;uact=5&amp;oq=DVD+%22kino-eye%22+vertov&amp;gs_lp=Egxnd3Mtd2l6LXNlcnAiFURWRCAia2luby1leWUiIHZlcnRvdjIIEAAYgAQYogQyCBAAGIAEGKIESNQPUOAHWIYKcAJ4AZABAJgBdaABrgKqAQMyLjG4AQPIAQD4AQGYAgSgAtwBwgIKEAAYsAMY1gQYR8ICCBAAGAcYCBgewgILEAAYgAQYhgMYigWYAwCIBgGQBgWSBwMzLjGgB9sG&amp;sclient=gws-wiz-serp\">here<\/a>.<br><br>When the genre of documentary film was in its infancy, Russian filmmaker Dziga Vertov used it to show how food shopping involves relations with hidden places, processes and people. In one extended scene from his experimental documentary Kino-Eye &#8211; which starts with an intertitle saying &#8216;Kopuchiska&#8217;s Mother Is Shopping For Meat&#8217; &#8211; the film follows a cut of meat that she buys in reverse motion, from a cooperative market, via the slaughterhouse where it is put back into the cow, who then stands up, walks backwards into the train, which returns the cow to the fields where it grazed. Vertov&#8217;s message to the film&#8217;s audience is to buy your meat from a workers&#8217; co-operative supermarket. If Marx had been a filmmaker, he could have made this sequence to show a commodity&#8217;s hidden relations. For us, it&#8217;s surprising that one of the earliest and most influential documentary filmmakers made follow thing work, to show audiences where commodities came from, what difference their purchase choices made, because meat&#8217;s system of provision mattered. Vertov also used techniques of montage, reverse sequencing, extremes of light and shade, in-shot camera motion, and sped up and slowed down the pace of scenes in order to &#8216;move&#8217; his audiences kinaesthetically. So, is this some of the most innovative follow the things work you&#8217;ll ever see? Or a meaningless jumble? Either way, it&#8217;s had a significant influence on the &#8216;follow the thing&#8217; genre&#8217;s academic and activist work.<\/p>\n\n\n\n<p>Page reference: Ian Cook et al (2024) <em>Kopuchiska&#8217;s Mother Is Shopping For Meat.<\/em> followthethings.com\/kinoeye.shtml (last accessed &lt;insert date here&gt;)<\/p>\n\n\n\n<p>Estimated reading time: 18 minutes.<\/p>\n\n\n\n<!--more-->\n\n\n\n<p class=\"has-medium-font-size\"><strong>22 comments<\/strong><\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:100%\">\n<p class=\"has-text-align-center\"><strong>Descriptions<\/strong><\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-not-stacked-on-mobile has-small-font-size is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:7.99%\">\n<figure class=\"wp-block-image size-full is-resized has-custom-border wp-duotone-dark-grayscale\"><img loading=\"lazy\" decoding=\"async\" width=\"868\" height=\"872\" src=\"https:\/\/follow-the-things.onyx-sites.io\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04.png\" alt=\"\" class=\"wp-image-99\" style=\"border-radius:100px;object-fit:cover;width:43px;height:auto\" srcset=\"https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04.png 868w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-300x300.png 300w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-150x150.png 150w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-768x772.png 768w\" sizes=\"auto, (max-width: 868px) 100vw, 868px\" \/><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:92.01%\">\n<p>&#8230; in&nbsp;[Kino-Eye]&#8230; there are two sequences whose action is presented on the screen in reverse: a piece of meat is followed back to a live steer, and a loaf, of bread is traced back to wagonloads of wheat (Source: Petric 1978, p.32).<\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-not-stacked-on-mobile has-small-font-size is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:7.99%\">\n<figure class=\"wp-block-image size-full is-resized has-custom-border wp-duotone-blue-red\"><img loading=\"lazy\" decoding=\"async\" width=\"868\" height=\"872\" src=\"https:\/\/follow-the-things.onyx-sites.io\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04.png\" alt=\"\" class=\"wp-image-99\" style=\"border-radius:100px;object-fit:cover;width:43px;height:auto\" srcset=\"https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04.png 868w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-300x300.png 300w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-150x150.png 150w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-768x772.png 768w\" sizes=\"auto, (max-width: 868px) 100vw, 868px\" \/><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:92.01%\">\n<p>&#8230; in the first (reverse motion scene), the mother of a Young Pioneer who has patronized private street markets for food reads a notice posted by a Young Pioneer about a collective or co-op store. This leads to an extended reverse motion sequence, not only sending her to the co-op store, but then showing how the meat was produced: the meat goes backward from the store to the slaughterhouse, where the bull&#8217;s innards are reinserted into the body and the bull comes to life; then, continuing in reverse motion, the bull is taken to the railroad which shipped it to the town from the country, and the train returns to the countryside. Only when the bull is in the herd back in the country do we resume normal, forward motion. (In a wonderful parody of forward-moving, linear &#8216;narrative&#8217; action &#8230; the sequence concludes when a Young Pioneer brings a letter to a herdsman who opens it. It says, &#8216;End of Reel One.&#8217;) (Source: Rosen 2007, p.30).<\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-not-stacked-on-mobile has-small-font-size is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:7.99%\">\n<figure class=\"wp-block-image size-full is-resized has-custom-border wp-duotone-blue-orange\"><img loading=\"lazy\" decoding=\"async\" width=\"868\" height=\"872\" src=\"https:\/\/follow-the-things.onyx-sites.io\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04.png\" alt=\"\" class=\"wp-image-99\" style=\"border-radius:100px;object-fit:cover;width:43px;height:auto\" srcset=\"https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04.png 868w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-300x300.png 300w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-150x150.png 150w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-768x772.png 768w\" sizes=\"auto, (max-width: 868px) 100vw, 868px\" \/><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:92.01%\">\n<p>[Vertov\u2019s] experiments with reversed film are thrilling. The mother of a Pioneer buys meat from a private seller instead of the cooperative: Vertov gives her a do-over. An intertitle announces \u2018Kino Eye moves time backward.\u2019 This time she makes the right choice. So film has the power to correct reality, to direct people towards socialist ethics. But then we keep going. The meat goes back to the slaughterhouse, Vertov gives the bull back his organs and skin and brings him back to life, and then leads him all the way back to the countryside (Source: Friedman 2011, np&nbsp;<a href=\"http:\/\/bombsite.com\/articles\/5011\">link<\/a>).<\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-not-stacked-on-mobile has-small-font-size is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:7.99%\">\n<figure class=\"wp-block-image size-full is-resized has-custom-border wp-duotone-purple-yellow\"><img loading=\"lazy\" decoding=\"async\" width=\"868\" height=\"872\" src=\"https:\/\/follow-the-things.onyx-sites.io\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04.png\" alt=\"\" class=\"wp-image-99\" style=\"border-radius:100px;object-fit:cover;width:43px;height:auto\" srcset=\"https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04.png 868w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-300x300.png 300w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-150x150.png 150w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-768x772.png 768w\" sizes=\"auto, (max-width: 868px) 100vw, 868px\" \/><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:92.01%\">\n<p>&#8230; the space which Vertov\u2019s intellectual editing explores is the space of political economy. One such sequence is found in Vertov\u2019s 1924&nbsp;<em>Kino-Eye<\/em>.&nbsp;This six reel feature chronicles various activities of a \u2018Pioneer unit\u2019 (Pioneers: a politicized Soviet version of Boy\/Girl Scouts) during the spring-summer of 1924.&nbsp; At one point a few of them arrive at a Moscow market where&nbsp;<em>kulaks<\/em>&nbsp;(a derogatory term for the richer family farmers tolerated by Lenin\u2019s New Economic Policy but not by people like Vertov or his Young Pioneers) sell their produce, and where two Pioneers are show posting leaflets agitating against buying it. Among the buyers the Kino-Eye picks out a woman (who happens to be the mother of one of the Pioneers) who has come to buy a piece of meat. Wrong move: working people should buy meat from the workers\u2019 co-op. To correct her mistake, the Kino-Eye is compelled to reverse time: the shopper\u2019s progress is frozen in mid-movement, and she starts walking backwards &#8211; away from the marketplace, heading (back first) towards a gate with the sign \u2018The First Red Supermarket of the Co-operative of the Handicapped\u2019. It is at this moment that the reverse progress in physical time transforms into a Marxist object lesson (Source: Tsivian 2004, p.11).<\/p>\n<\/div>\n<\/div>\n\n\n\n<details class=\"wp-block-details has-small-font-size is-layout-flow wp-block-details-is-layout-flow\"><summary>+1 comment<\/summary>\n<div class=\"wp-block-columns is-not-stacked-on-mobile has-small-font-size is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:7.99%\">\n<figure class=\"wp-block-image size-full is-resized has-custom-border wp-duotone-grayscale\"><img loading=\"lazy\" decoding=\"async\" width=\"868\" height=\"872\" src=\"https:\/\/follow-the-things.onyx-sites.io\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04.png\" alt=\"\" class=\"wp-image-99\" style=\"border-radius:100px;object-fit:cover;width:43px;height:auto\" srcset=\"https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04.png 868w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-300x300.png 300w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-150x150.png 150w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-768x772.png 768w\" sizes=\"auto, (max-width: 868px) 100vw, 868px\" \/><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:92.01%\">\n<p><em>Kino-Eye<\/em>&nbsp;&#8230; demonstrates Vertov\u2019s contention that cinema is uniquely capable of making the \u2018invisible connections between things\u2019 apparent. In Part One of the film, Vertov reverses time as a way of distinguishing the value of a piece of meat for sale in the worker\u2019s co-operative from one for sale at a private market. The sequence begins with some Young Pioneers (Soviet version of boy\/girl scouts) and one of their mothers separately inquiring about the cost of a piece of meat at a private market. The Pioneers then put up a sign urging people to buy meat from the co-operative. The mother sniffs the meat, walks away and reads the sign. The<em>&nbsp;Kino-Eye<\/em>&nbsp;then reverses time as a way of showing both the alternative (and socialist) market and demonstrating the production process of the co-operative. The fresh, quivering meat becomes recognizable as a bull. His entrails are returned. His hide is reattached and he comes back to life. From the stockyards he is loaded onto a train (itself always already directionally reversible). He is sent back to the countryside, where cattle farmers raise him and the other members of the herd. The piece of meat from the co-operative is better not just because it is fresher, but because it was produced through socialist practices (Source: Gershon &amp; Malitsky 2010, p.74).<\/p>\n<\/div>\n<\/div>\n\n\n\n<p><\/p>\n<\/details>\n\n\n\n<div style=\"height:41px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:100%\">\n<p class=\"has-text-align-center\"><strong>Inspiration \/ Technique \/ Process \/ Methodology<\/strong><\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-not-stacked-on-mobile has-small-font-size is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:7.99%\">\n<figure class=\"wp-block-image size-full is-resized has-custom-border wp-duotone-blue-orange\"><img loading=\"lazy\" decoding=\"async\" width=\"868\" height=\"872\" src=\"https:\/\/follow-the-things.onyx-sites.io\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04.png\" alt=\"\" class=\"wp-image-99\" style=\"border-radius:100px;object-fit:cover;width:43px;height:auto\" srcset=\"https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04.png 868w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-300x300.png 300w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-150x150.png 150w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-768x772.png 768w\" sizes=\"auto, (max-width: 868px) 100vw, 868px\" \/><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:92.01%\">\n<p>Of cource the&nbsp;<em>kinocs<\/em>&nbsp;do not recognise the script: the literary script, linked to the montage system I have outlined, would immediately annul all its sense and meaning. The&nbsp;<em>kinocs<\/em>\u2019&nbsp;things are not constructed by the pen, but by montage; they re constructed by the organisation of material (Source: Belenson 1925 in Tsivian 2004, p.107).<\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-not-stacked-on-mobile has-small-font-size is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:7.99%\">\n<figure class=\"wp-block-image size-full is-resized has-custom-border wp-duotone-grayscale\"><img loading=\"lazy\" decoding=\"async\" width=\"868\" height=\"872\" src=\"https:\/\/follow-the-things.onyx-sites.io\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04.png\" alt=\"\" class=\"wp-image-99\" style=\"border-radius:100px;object-fit:cover;width:43px;height:auto\" srcset=\"https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04.png 868w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-300x300.png 300w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-150x150.png 150w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-768x772.png 768w\" sizes=\"auto, (max-width: 868px) 100vw, 868px\" \/><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:92.01%\">\n<p>We, the&nbsp;<em>kinocs<\/em>, are not keen on calling&nbsp;<em>Kino-Eye<\/em>&nbsp;a film &#8211; we say that&nbsp;<em>Kino-Eye<\/em>&nbsp;is the first \u2018film-thing\u2019. This film-thing does not satisfy any of the demands made of a fiction film. It is made as if the studios, the directors, Griffith, Los Angeles, had never existed. In constructing this film-thing the following people were superfluous: (1) scriptwriters (a film without&nbsp; script), (2) directors (a film without a director), (3) designers (a film without sets), (4) actors and cinematic model actors (a film without actors and model actors). So who did make this picture? (1) the&nbsp;<em>kinocs<\/em>&nbsp;observers (they saw it), (2) the&nbsp;<em>kinocs<\/em>&nbsp;cameramen (they captured it), (3) the&nbsp;<em>kinocs<\/em>&nbsp;editors (they organized it). We began with five observers. By the end of the first part the number had grown to a hundred. \u2018Circles of the Friends of the&nbsp;<em>Kinocs<\/em>\u2019 were formed, and they also developed their activities on a large scale, under the slogan <em>Kino-Eye<\/em> (Source: Vertov nd in Tsivian 2004, p.119).<\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-not-stacked-on-mobile has-small-font-size is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:7.99%\">\n<figure class=\"wp-block-image size-full is-resized has-custom-border wp-duotone-grayscale\"><img loading=\"lazy\" decoding=\"async\" width=\"868\" height=\"872\" src=\"https:\/\/follow-the-things.onyx-sites.io\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04.png\" alt=\"\" class=\"wp-image-99\" style=\"border-radius:100px;object-fit:cover;width:43px;height:auto\" srcset=\"https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04.png 868w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-300x300.png 300w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-150x150.png 150w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-768x772.png 768w\" sizes=\"auto, (max-width: 868px) 100vw, 868px\" \/><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:92.01%\">\n<p>Vertov argued that the filmmaker should organize life facts into new cinematic structures which would reflect his own ideology. This reorganization was to be multi-levelled and had to be perfected during the process of montage, as the final step of the &#8216;Film-Eye&#8217; method. The completed film would thus help the audience perceive reality as they otherwise would never be able to. By this method Vertov hoped to achieve an active seeing, not torpid observation. He considered the camera a weapon in the ideological battle. Assisted by the &#8216;Film-Eye,&#8217; the proletariat could project the visage of the new man, which would be &#8216;more perfect than Adam,&#8217; and anticipate the new international society which would represent &#8216;the world of freed workers, farmers, and [liberated] colonial slaves.&#8217; This was Vertov&#8217;s dialectical synthesis between recording life facts and presenting them on the screen in a new perspective (Source: Petric 1978, p.30).<\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-not-stacked-on-mobile has-small-font-size is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:7.99%\">\n<figure class=\"wp-block-image size-full is-resized has-custom-border wp-duotone-purple-yellow\"><img loading=\"lazy\" decoding=\"async\" width=\"868\" height=\"872\" src=\"https:\/\/follow-the-things.onyx-sites.io\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04.png\" alt=\"\" class=\"wp-image-99\" style=\"border-radius:100px;object-fit:cover;width:43px;height:auto\" srcset=\"https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04.png 868w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-300x300.png 300w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-150x150.png 150w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-768x772.png 768w\" sizes=\"auto, (max-width: 868px) 100vw, 868px\" \/><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:92.01%\">\n<p>The strategy of \u2018Film-Truth\u2019 makes use of the Constructivist concept of building a film in segments, i.e., from bits and pieces following an architectonic approach to art. It is in this context that Vertov&#8217;s principle of &#8216;Film-Truth&#8217; is related to montage: \u2018&#8217;Film-Truth&#8217; is made up of material as a house is made of bricks. Using bricks, one can make an oven, the Kremlin wall, and many other things. From filmed material, one can construct various films. Just as one needs good bricks to make a solid house, so one needs good film material to organize a good film.\u2019 The last sentence in the above quotation reveals Vertov&#8217;s general montage theory to be not unlike those defined by Kuleshov and Pudovkin. Yet Vertov was much more radical in his insistence that from the very beginning of filming, the filmmaker must select details from reality, not merely shoot them at random, as Vertov&#8217;s method is often wrongly described. His principle of &#8216;Film-Truth&#8217; therefore must be considered an integral part of his montage theory, along with his concept of &#8216;Life-As-It-Is.&#8217; He stressed that one has to obtain &#8216;good film material&#8217; in order to make &#8216;a good film,&#8217; and that one must decide ahead of time how to shoot details in reality (&#8216;life facts&#8217;) so that they do not become &#8216;quasi-facts&#8217; on the screen. Without this selectivity, there can be no appropriate &#8216;organization&#8217; of a film, since &#8216;good film material&#8217; will be lacking; and the film&#8217;s message, consequently, will be ineffective (Source: Petric 1978, p.32-3).<\/p>\n<\/div>\n<\/div>\n\n\n\n<details class=\"wp-block-details has-small-font-size is-layout-flow wp-block-details-is-layout-flow\"><summary>+5 comments<\/summary>\n<p><\/p>\n\n\n\n<div class=\"wp-block-columns is-not-stacked-on-mobile has-small-font-size is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:7.99%\">\n<figure class=\"wp-block-image size-full is-resized has-custom-border wp-duotone-blue-orange\"><img loading=\"lazy\" decoding=\"async\" width=\"868\" height=\"872\" src=\"https:\/\/follow-the-things.onyx-sites.io\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04.png\" alt=\"\" class=\"wp-image-99\" style=\"border-radius:100px;object-fit:cover;width:43px;height:auto\" srcset=\"https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04.png 868w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-300x300.png 300w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-150x150.png 150w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-768x772.png 768w\" sizes=\"auto, (max-width: 868px) 100vw, 868px\" \/><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:92.01%\">\n<p>The concept of an intrinsic relationship (in a Hegelian sense) among all the elements which appear on the screen seems crucial for Vertov; this suggests that his ultimate goal was a rhythmic and cinematic impact emerging from the integration of all the elements and devices incorporated in a film, among them slow and accelerated motion, reverse projection, animation, telescopic and microscopic shots, even shooting with remote control (as in live television coverage today) (Source: Petric 1978, p.35).<\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-not-stacked-on-mobile has-small-font-size is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:7.99%\">\n<figure class=\"wp-block-image size-full is-resized has-custom-border wp-duotone-purple-green\"><img loading=\"lazy\" decoding=\"async\" width=\"868\" height=\"872\" src=\"https:\/\/follow-the-things.onyx-sites.io\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04.png\" alt=\"\" class=\"wp-image-99\" style=\"border-radius:100px;object-fit:cover;width:43px;height:auto\" srcset=\"https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04.png 868w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-300x300.png 300w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-150x150.png 150w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-768x772.png 768w\" sizes=\"auto, (max-width: 868px) 100vw, 868px\" \/><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:92.01%\">\n<p>The film uses the device of reverse shooting &#8230; and there are also sequences where the film speeds up &#8230; or slows down &#8230; . Without sufficiently comprehensible explanatory intertitles, these sequences create a strange impression, which has not had sufficient time to be dispersed before the shots of a new episode begin to flicker on the screen. There are also signs of excess in montage. Certain places, thanks to the montage, take on a tempo which is completely alien to our life (and yet isn\u2019t this supposed to be life caught \u2018unawares\u2019?) (Source Gusman 1924 in Tsivian 2004, p.104-5).<\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-not-stacked-on-mobile has-small-font-size is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:7.99%\">\n<figure class=\"wp-block-image size-full is-resized has-custom-border wp-duotone-midnight\"><img loading=\"lazy\" decoding=\"async\" width=\"868\" height=\"872\" src=\"https:\/\/follow-the-things.onyx-sites.io\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04.png\" alt=\"\" class=\"wp-image-99\" style=\"border-radius:100px;object-fit:cover;width:43px;height:auto\" srcset=\"https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04.png 868w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-300x300.png 300w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-150x150.png 150w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-768x772.png 768w\" sizes=\"auto, (max-width: 868px) 100vw, 868px\" \/><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:92.01%\">\n<p>Vertov developed in 1919, his &#8216;theory of intervals,&#8217; and presented it as the way of producing a kinesthetic impact in viewers. Proceeding from the basic idea that the strongest &#8216;montage conflict&#8217; in a film always occurs at the moment when one movement is transformed into or juxtaposed with another-that is, between rather than within the shots &#8230; Vertov emphasizes that film intervals must be related to the sequence&#8217;s content in order to contribute to the &#8216;intensification&#8217; of the &#8216;film-thing&#8217; which appears on the screen. Kinesthetic impact in cinema may be obtained by various means, including the juxtaposition of graphic forms dominating the static composition of the shot, the interaction of diverse movements occurring in two or more related shots, or a combination of both of these elements. &#8230; Vertov discovered that the kinesthetic value of the impulsive movement of the hand-held camera interrelated on the principle of &#8216;intervals&#8217; stimulates, more than anything else, sensory-motor experience in viewers (Source: Petric 1978, p.35-6).<\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-not-stacked-on-mobile has-small-font-size is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:7.99%\">\n<figure class=\"wp-block-image size-full is-resized has-custom-border wp-duotone-dark-grayscale\"><img loading=\"lazy\" decoding=\"async\" width=\"868\" height=\"872\" src=\"https:\/\/follow-the-things.onyx-sites.io\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04.png\" alt=\"\" class=\"wp-image-99\" style=\"border-radius:100px;object-fit:cover;width:43px;height:auto\" srcset=\"https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04.png 868w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-300x300.png 300w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-150x150.png 150w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-768x772.png 768w\" sizes=\"auto, (max-width: 868px) 100vw, 868px\" \/><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:92.01%\">\n<p>Kinesthesia is a term which connotes the specific sensation that the motion picture can stimulate in the viewer&#8217;s perceptual centers by means of montage, camera movement, motion within the shot, and the exchange of light and dark impulses on the screen. Affected by these stimuli, together with the strong feeling of spatial identification with the world presented on the screen, the viewer&#8217;s sensory-motor centers respond as if his [sic] body were actually moving through space. The viewer&#8217;s muscular response to the movement occurring on the screen can be even more intensified by the wide-screen image,deep focus, 3-D, and stereophonic sound, thus proving that cinematic experience is essentially different from what we experience by watching television (Source: Petric 1978, 43-4).<\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-not-stacked-on-mobile has-small-font-size is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:7.99%\">\n<figure class=\"wp-block-image size-full is-resized has-custom-border wp-duotone-blue-red\"><img loading=\"lazy\" decoding=\"async\" width=\"868\" height=\"872\" src=\"https:\/\/follow-the-things.onyx-sites.io\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04.png\" alt=\"\" class=\"wp-image-99\" style=\"border-radius:100px;object-fit:cover;width:43px;height:auto\" srcset=\"https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04.png 868w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-300x300.png 300w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-150x150.png 150w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-768x772.png 768w\" sizes=\"auto, (max-width: 868px) 100vw, 868px\" \/><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:92.01%\">\n<p>&#8230; this film-thing &#8230; when it is shown to the viewer rivets his attention and arouses in him feelings and thoughts that have never been touched by the screen before (Source: Vertov nd in Tsivian 2004, p.120).<\/p>\n<\/div>\n<\/div>\n<\/details>\n\n\n\n<div style=\"height:41px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:100%\">\n<p class=\"has-text-align-center\"><strong><strong>Discussion \/ Responses<\/strong><\/strong><\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-not-stacked-on-mobile has-small-font-size is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:7.99%\">\n<figure class=\"wp-block-image size-full is-resized has-custom-border wp-duotone-blue-orange\"><img loading=\"lazy\" decoding=\"async\" width=\"868\" height=\"872\" src=\"https:\/\/follow-the-things.onyx-sites.io\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04.png\" alt=\"\" class=\"wp-image-99\" style=\"border-radius:100px;object-fit:cover;width:43px;height:auto\" srcset=\"https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04.png 868w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-300x300.png 300w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-150x150.png 150w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-768x772.png 768w\" sizes=\"auto, (max-width: 868px) 100vw, 868px\" \/><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:92.01%\">\n<p>Let us move to the most important thing, to the assessment of the film from an ideological point of view. This is Vertov\u2019s Achilles\u2019 heel. The absence of a script or even a theme makes the film meaningless. The moments of propaganda with the Pioneers drown in the chronicle of events and the tricks, and the whole thing turns into an unimaginable jumble (Source: Erofeev 1924 in Tsivian 2004, p.106).<\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-not-stacked-on-mobile has-small-font-size is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:7.99%\">\n<figure class=\"wp-block-image size-full is-resized has-custom-border wp-duotone-purple-green\"><img loading=\"lazy\" decoding=\"async\" width=\"868\" height=\"872\" src=\"https:\/\/follow-the-things.onyx-sites.io\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04.png\" alt=\"\" class=\"wp-image-99\" style=\"border-radius:100px;object-fit:cover;width:43px;height:auto\" srcset=\"https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04.png 868w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-300x300.png 300w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-150x150.png 150w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-768x772.png 768w\" sizes=\"auto, (max-width: 868px) 100vw, 868px\" \/><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:92.01%\">\n<p>Vertov still does not always subordinate his technical refinement, his young talent, to the well-considered ideological content of the film and the demands that it be comprehensible for the masses. In this way he himself prejudices his influence on the masses and pokes the stakes of his desire to be original at all costs and the rubbish of trivia into the wheels of popularity and the intelligible presentation of the subject as a whole (Source: Khersonsky 1925 in Tsivian 2004, p.117).<\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-not-stacked-on-mobile has-small-font-size is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:7.99%\">\n<figure class=\"wp-block-image size-full is-resized has-custom-border wp-duotone-midnight\"><img loading=\"lazy\" decoding=\"async\" width=\"868\" height=\"872\" src=\"https:\/\/follow-the-things.onyx-sites.io\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04.png\" alt=\"\" class=\"wp-image-99\" style=\"border-radius:100px;object-fit:cover;width:43px;height:auto\" srcset=\"https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04.png 868w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-300x300.png 300w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-150x150.png 150w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-768x772.png 768w\" sizes=\"auto, (max-width: 868px) 100vw, 868px\" \/><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:92.01%\">\n<p>The struggle for the Kino-Eye has already been going for several years, and has its own history. I won\u2019t dwell on the various stages of this arduous struggle. For even now, chained hand and foot, taking an enforced rest after the first issue of<em>&nbsp;Kino-Eye<\/em>, I am fated to listen to the hypocritical remarks of &#8230; Erofeev. \u2018Your theory is at odds with your practice\u2019. I recall that once Comrade Erofeev assured me that he could jump over his editorial chair without difficulty. I tied his legs, took away the chair, and became convinced that his \u2018theory was at odds with his practice\u2019. This did not happen, but I can do this experiment with everyone who wants to get into my skin and jump with their legs tied. What is<em>&nbsp;Kino-Pravda<\/em>? It is strong jumps with your legs tied (Source: Vertov 1924 in Tsivian 2004, p.107).<\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-not-stacked-on-mobile has-small-font-size is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:7.99%\">\n<figure class=\"wp-block-image size-full is-resized has-custom-border wp-duotone-dark-grayscale\"><img loading=\"lazy\" decoding=\"async\" width=\"868\" height=\"872\" src=\"https:\/\/follow-the-things.onyx-sites.io\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04.png\" alt=\"\" class=\"wp-image-99\" style=\"border-radius:100px;object-fit:cover;width:43px;height:auto\" srcset=\"https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04.png 868w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-300x300.png 300w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-150x150.png 150w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-768x772.png 768w\" sizes=\"auto, (max-width: 868px) 100vw, 868px\" \/><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:92.01%\">\n<p>The reversal serves a dual purpose. First, it explains the connection between things by relying on temporalized metonymies to represent (Marxist) truth in a network of production. And second, it acknowledges the social construction of facticity by exposing its own process of cinematic (factual) production \u2013 not in a relativistic way, but to insist that scientific fact is imbricated with political truth. Vertov is in dialogue with contemporaneous scientific assumptions about fashioning facts when endeavouring to depict the realism underlying meat (Source: Gershon &amp; Malitsky 2010, p.74).<\/p>\n<\/div>\n<\/div>\n\n\n\n<details class=\"wp-block-details has-small-font-size is-layout-flow wp-block-details-is-layout-flow\"><summary>+2 comments<\/summary>\n<p><\/p>\n\n\n\n<div class=\"wp-block-columns is-not-stacked-on-mobile has-small-font-size is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:7.99%\">\n<figure class=\"wp-block-image size-full is-resized has-custom-border wp-duotone-blue-orange\"><img loading=\"lazy\" decoding=\"async\" width=\"868\" height=\"872\" src=\"https:\/\/follow-the-things.onyx-sites.io\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04.png\" alt=\"\" class=\"wp-image-99\" style=\"border-radius:100px;object-fit:cover;width:43px;height:auto\" srcset=\"https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04.png 868w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-300x300.png 300w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-150x150.png 150w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-768x772.png 768w\" sizes=\"auto, (max-width: 868px) 100vw, 868px\" \/><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:92.01%\">\n<p>Yuri Tsvian&#8217;s notation on the meat sequence of Kino-Eye is &#8230; the following. Instead of going from cause to effect, the sequence goes from effect to cause. For Tsvian, this is a mark of Marxist analysis. Ultimately, according to Tsvian, Vertov&#8217;s is a Marxism that &#8216;wishes to disclose the invisible connections between things,&#8217; which is to say the connection between all parts. I would reword this slightly and say that the sequence seeks to go from immediacy to mediated totality. An immediate action of everyday life &#8211; buying food &#8211; is referred back to the necessity of comprehending where that action fits in, the social whole or totality; that is, it is an attempt to configure a Marxist dialectics in cinema. It is understandable that a film made in the Soviet Union in the 1920s would manifest such dialectics by foregrounding relations between the urban working class and rural peasantry, with whom the reverse-action meat sequence ends. However, the project is not limited to this &#8216;content,&#8217; if that&#8217;s the right word (Source: Rosen 2007, p.32).<\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-not-stacked-on-mobile has-small-font-size is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:7.99%\">\n<figure class=\"wp-block-image size-full is-resized has-custom-border wp-duotone-purple-green\"><img loading=\"lazy\" decoding=\"async\" width=\"868\" height=\"872\" src=\"https:\/\/follow-the-things.onyx-sites.io\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04.png\" alt=\"\" class=\"wp-image-99\" style=\"border-radius:100px;object-fit:cover;width:43px;height:auto\" srcset=\"https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04.png 868w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-300x300.png 300w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-150x150.png 150w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-768x772.png 768w\" sizes=\"auto, (max-width: 868px) 100vw, 868px\" \/><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:92.01%\">\n<p>Why is shopping at the Red Supermarket better than buying the same piece of meat at the market? This has something to do with its quality, or its sanitary control, or prices, our consumer instinct prompts us. Wrong answer. The true nature of meat , as of any commodity (Marxism teaches us), is defined not by qualities inherent in the end-product, but by the character of the labour involved in its production. In a country such as this (Vetov takes over), with two competing economies, meat can be either capitalist or Socialist, even if the two pieces taste exactly alike.&nbsp;<em>Causarum cognitio:<\/em> to choose the right piece, the conscious shopper must look into its causes &#8211; collective or private farming, large-scale or cottage food industry, and so on (Source; Tsivian 2004, p.11).<\/p>\n<\/div>\n<\/div>\n<\/details>\n\n\n\n<div style=\"height:41px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:100%\">\n<p class=\"has-text-align-center\"><strong>Outcomes \/ Impacts<\/strong><\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-not-stacked-on-mobile has-small-font-size is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:7.99%\">\n<figure class=\"wp-block-image size-full is-resized has-custom-border wp-duotone-blue-red\"><img loading=\"lazy\" decoding=\"async\" width=\"868\" height=\"872\" src=\"https:\/\/follow-the-things.onyx-sites.io\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04.png\" alt=\"\" class=\"wp-image-99\" style=\"border-radius:100px;object-fit:cover;width:43px;height:auto\" srcset=\"https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04.png 868w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-300x300.png 300w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-150x150.png 150w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-768x772.png 768w\" sizes=\"auto, (max-width: 868px) 100vw, 868px\" \/><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:92.01%\">\n<p>Vertov has intermittently emerged as a key reference point for many discussions of developments in cinema and imaging techniques and technologies. Recently, for example, he is an important figure in Lev Manovich&#8217;s widely-read theory of the digital. Once again the signifier Vertov is invoked as central to discussions about shifts in media, whether that signifier stands for the biographical individual or for his work. Whatever Vertov did and stood for&nbsp;<em>then<\/em>&nbsp;apparently matters in the very different historical context&nbsp;<em>now<\/em>&nbsp;(Source: Rosen 2007, 27).<\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-not-stacked-on-mobile has-small-font-size is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:7.99%\">\n<figure class=\"wp-block-image size-full is-resized has-custom-border wp-duotone-grayscale\"><img loading=\"lazy\" decoding=\"async\" width=\"868\" height=\"872\" src=\"https:\/\/follow-the-things.onyx-sites.io\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04.png\" alt=\"\" class=\"wp-image-99\" style=\"border-radius:100px;object-fit:cover;width:43px;height:auto\" srcset=\"https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04.png 868w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-300x300.png 300w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-150x150.png 150w, https:\/\/followthethings.com\/wp-content\/uploads\/2024\/08\/Screenshot-2024-08-08-at-17.49.04-768x772.png 768w\" sizes=\"auto, (max-width: 868px) 100vw, 868px\" \/><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:92.01%\">\n<p>Multi-sited research is designed around chains, paths, threads, conjunctions, or juxtapositions of locations in which the ethnographer establishes some form of literal, physical presence, with an explicit, posited logic of association or connection among sites that in fact defines the argument of the ethnography. Indeed, such multi-sited ethnography is a revival of a sophisticated practice of constructivism, one of the most interesting and fertile practices of representation and investigation by the Russian avant-garde of momentous social change just before and after the revolution. Constructivists viewed the artists as an engineer whose task was to construct useful objects, much like the factory worker, while actively participating in the building of a new society. Film-making, especially the work of Vertov &#8230;, was one of the most creative and de facto ethnographic media through which constructivism \u2026 was produced. From a methodological perspective, Vertov\u2019s work is an excellent inspiration for multi-sited ethnography. Multi-sited ethnographies define their objects of study through several different modes or techniques. These techniques might be understood as practices of construction through (preplanned or opportunistic) movement and of tracing within different settings of a complex cultural phenomenon given an initial, baseline conceptual identity that turns out to be contingent and malleable as one traces it&#8217; (Marcus 1995, 106).<\/p>\n<\/div>\n<\/div>\n\n\n\n<div style=\"height:41px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p class=\"has-background has-normal-font-size\" style=\"background-color:#f8f2ee\">Page compiled by Ian Cook (last updated August 2011).<\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong>Sources<\/strong><\/p>\n\n\n\n<p class=\"has-small-font-size\">Friedman, Z. (2011) Vertiginour Vertov.&nbsp;<em>Bombsite.com<\/em>&nbsp;20 April (<a href=\"http:\/\/bombsite.com\/articles\/5011\">http:\/\/bombsite.com\/articles\/5011<\/a>&nbsp;last accessed 1 August 2011)<\/p>\n\n\n\n<p class=\"has-small-font-size\">Gershon, I. &amp; Malitsky, J. (2010) Actor-network theory and documentary studies.&nbsp;&nbsp;<em>Studies in documentary film<\/em>&nbsp;4(1), p.65-7<\/p>\n\n\n\n<p class=\"has-small-font-size\">Marcus, G. (1995) Ethnography in\/of the world system: the emergence of multi-sited ethnography.<em>&nbsp;Annual review of anthropology<\/em>&nbsp;24, p.95-117<\/p>\n\n\n\n<p class=\"has-small-font-size\">Petric, V. (1978) Dziga Vertov as theorist.&nbsp;<em>Cinema Journal&nbsp;<\/em>18(1), 29-44<\/p>\n\n\n\n<details class=\"wp-block-details has-small-font-size is-layout-flow wp-block-details-is-layout-flow\"><summary>+3 sources<\/summary>\n<p class=\"has-small-font-size\">Rabinowitz, P. (1993) Wreckage upon wreckage: history documentary and the ruins of memory.&nbsp;<em>History and theory <\/em>32(2), p.119-137 (<a href=\"http:\/\/www.english.ufl.edu\/mrg\/readings\/wreckage%20upon%20wreckage.pdf\">www.english.ufl.edu\/mrg\/readings\/wreckage upon wreckage.pdf<\/a>&nbsp;last accessed 25 July 2011)<\/p>\n\n\n\n<p class=\"has-small-font-size\">Rosen, P. (2007) Now and then: conceptual problems in historicising documentary imaging.&nbsp;<em>Canadia journal of film studies<\/em>&nbsp;16(1), 25-38 (<a href=\"http:\/\/www.filmstudies.ca\/journal\/pdf\/cj-film-studies161_Rosen_conceptual.pdf\">www.filmstudies.ca\/journal\/pdf\/cj-film-studies161_Rosen_conceptual.pdf<\/a>&nbsp;last accessed 25 July 2011)<\/p>\n\n\n\n<p class=\"has-small-font-size\">Tsivian, Y. (<em>ed<\/em>) (2004) <em>Lines of resistance: Dziga Vertov and the twenties.&nbsp;<\/em>Gemona: Le Giornate del Cinema Muto<\/p>\n<\/details>\n\n\n\n<div style=\"height:25px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<details class=\"wp-block-details has-small-font-size is-layout-flow wp-block-details-is-layout-flow\"><summary>Image credit<\/summary>\n<p><strong>Speaking icon:<\/strong> Speaking (https:\/\/thenounproject.com\/icon\/speaking-5549886\/) by M Faisal from Noun Project (CC BY 3.0) Modified August 2024<\/p>\n<\/details>\n<div class=\"pvc_clear\"><\/div><p id=\"pvc_stats_7665\" class=\"pvc_stats all  \" data-element-id=\"7665\" style=\"\"><i class=\"pvc-stats-icon medium\" aria-hidden=\"true\"><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" version=\"1.0\" viewBox=\"0 0 502 315\" preserveAspectRatio=\"xMidYMid meet\"><g transform=\"translate(0,332) scale(0.1,-0.1)\" fill=\"\" stroke=\"none\"><path d=\"M2394 3279 l-29 -30 -3 -207 c-2 -182 0 -211 15 -242 39 -76 157 -76 196 0 15 31 17 60 15 243 l-3 209 -33 29 c-26 23 -41 29 -80 29 -41 0 -53 -5 -78 -31z\"\/><path d=\"M3085 3251 c-45 -19 -58 -50 -96 -229 -47 -217 -49 -260 -13 -295 52 -53 146 -42 177 20 16 31 87 366 87 410 0 70 -86 122 -155 94z\"\/><path d=\"M1751 3234 c-13 -9 -29 -31 -37 -50 -12 -29 -10 -49 21 -204 19 -94 39 -189 45 -210 14 -50 54 -80 110 -80 34 0 48 6 76 34 21 21 34 44 34 59 0 14 -18 113 -40 219 -37 178 -43 195 -70 221 -36 32 -101 37 -139 11z\"\/><path d=\"M1163 3073 c-36 -7 -73 -59 -73 -102 0 -56 133 -378 171 -413 34 -32 83 -37 129 -13 70 36 67 87 -16 290 -86 209 -89 214 -129 231 -35 14 -42 15 -82 7z\"\/><path d=\"M3689 3066 c-15 -9 -33 -30 -42 -48 -48 -103 -147 -355 -147 -375 0 -98 131 -148 192 -74 13 15 57 108 97 206 80 196 84 226 37 273 -30 30 -99 39 -137 18z\"\/><path d=\"M583 2784 c-38 -19 -67 -74 -58 -113 9 -42 211 -354 242 -373 16 -10 45 -18 66 -18 51 0 107 52 107 100 0 39 -1 41 -124 234 -80 126 -108 162 -133 173 -41 17 -61 16 -100 -3z\"\/><path d=\"M4250 2784 c-14 -9 -74 -91 -133 -183 -95 -150 -107 -173 -107 -213 0 -55 33 -94 87 -104 67 -13 90 8 211 198 130 202 137 225 78 284 -27 27 -42 34 -72 34 -22 0 -50 -8 -64 -16z\"\/><path d=\"M2275 2693 c-553 -48 -1095 -270 -1585 -649 -135 -104 -459 -423 -483 -476 -23 -49 -22 -139 2 -186 73 -142 361 -457 571 -626 285 -228 642 -407 990 -497 242 -63 336 -73 660 -74 310 0 370 5 595 52 535 111 1045 392 1455 803 122 121 250 273 275 326 19 41 19 137 0 174 -41 79 -309 363 -465 492 -447 370 -946 591 -1479 653 -113 14 -422 18 -536 8z m395 -428 c171 -34 330 -124 456 -258 112 -119 167 -219 211 -378 27 -96 24 -300 -5 -401 -72 -255 -236 -447 -474 -557 -132 -62 -201 -76 -368 -76 -167 0 -236 14 -368 76 -213 98 -373 271 -451 485 -162 444 86 934 547 1084 153 49 292 57 452 25z m909 -232 c222 -123 408 -262 593 -441 76 -74 138 -139 138 -144 0 -16 -233 -242 -330 -319 -155 -123 -309 -223 -461 -299 l-81 -41 32 46 c18 26 49 83 70 128 143 306 141 649 -6 957 -25 52 -61 116 -79 142 l-34 47 45 -20 c26 -10 76 -36 113 -56z m-2057 25 c-40 -58 -105 -190 -130 -263 -110 -324 -59 -707 132 -981 25 -35 42 -64 37 -64 -19 0 -241 119 -326 174 -188 122 -406 314 -532 468 l-58 71 108 103 c185 178 428 349 672 473 66 33 121 60 123 61 2 0 -10 -19 -26 -42z\"\/><path d=\"M2375 1950 c-198 -44 -350 -190 -395 -379 -18 -76 -8 -221 19 -290 114 -284 457 -406 731 -260 98 52 188 154 231 260 27 69 37 214 19 290 -38 163 -166 304 -326 360 -67 23 -215 33 -279 19z\"\/><\/g><\/svg><\/i> <img loading=\"lazy\" decoding=\"async\" width=\"16\" height=\"16\" alt=\"Loading\" src=\"https:\/\/followthethings.com\/wp-content\/plugins\/page-views-count\/ajax-loader-2x.gif\" border=0 \/><\/p><div class=\"pvc_clear\"><\/div>","protected":false},"excerpt":{"rendered":"<p>followthethings.comGrocery &#8220;Kopuchiska&#8217;s Mother Is Shopping For Meat&#8220;A scene from a documentary film called &#8216;Kino-Eye&#8217;, directed by Dziga Vertov. Film embedded above, scene starts at 7.00 and finishes at 14.08. Search online to stream here and to buy DVD here. 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