Both writers (Vertov and Einstein) were trying to explain on
cuts primarily in their own literature. Cut produced during the movie brewing
period is a process of connecting or linking the notion of images in a continuous
form.
Soviet-ian Vertov’s
Kino eye essay article is an encounter of automata eye in response to the political
manifesto. The art of film making endeavors to catch the notion of universal
phenomena and limits everything and every action into a compact form. The task
of gathering objects via camera and simplifying the complex form of ubiquitous juxtaposition
in a simple form using the lens is a strikingly amazing subject that helps
humans to pursue emotions in a short period of time. The hegemony of camera is
the main purpose of the article that the writer wants to address to us (readers).
Similarly, the art
described in the second essay by Einstein is based on various types of montages.
The quintessential idea of Einstein Montage denotes to the work of generating a
motion picture with various taste of cuts such as rhythmic, tonal, metric,
intellectual and overexposed. All of the cuts activates their own type of
melodies during the movie performance. For instance, Rhythmic montage refers to
an attachment of reel that produces rhythmic flow while perceiving cinema. The absorbing
scheme during the cinema period tricks viewers eye with a magical flow and
provides a lesson automatically.
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