The continuity-based editing and kino-eye as explained by Dziga Vertov are two very contrasting ways of filmmaking. Editing that puts continuity at the forefront is what we see most often in filmmaking, it puts all of the happenings of the film in temporal order so the plot makes sense to the viewers. Kino»eye does not yield to these conventions and, as Vertov describes it, takes no notice of temporal importance The time in which something occurred is not important in regards to filming in kino-eye, Kino—eye is attempting to take film in a different direction than conventional “art-drama” films Kino- eye makes the film look real and does not contain actors, It is all real footage of real people, it is not “poisoned” as Vertov says with the fake realities conventional films have.
The kino»eye which translates into “camera-eye“ is very different from the human eye in specific ways, The kino-eye is not restricted to time. Through filming in this way you can jump around between different time periods, which the human eye cannot do Our eyes are restricted to what is in front of us as well as time. Kino—eye can jump between locations physical and temporal. The film Man with a Movie Camera indeed portrays the keno-eye idea very successfully. There are not actors in the film and it is a constant barrage of montage reality in various different locations at different temporal locations lt captured poor people quite often and portrayed the reality of sounds and every day happenings of the streets very well. This film is a good example of the keno-eye concept The film shows large groups of people, none of whom know they are being filmed, on multiple occasions showing us through the cameras eye what is really happening in every day life with real people.
On the other hand, Kino-Eye is a filmmaking technique developed by Soviet filmmaker Dziga Vertov in the 1920s. Kino-Eye is based on the idea that film can be a tool for capturing raw reality and transforming it into a new meaning through editing. This style emphasizes the use of documentary footage and montage to create a new message or idea. Kino-Eye is more concerned with capturing the essence of reality and using editing to create a new meaning rather than maintaining a seamless narrative flow. In terms of the differences between these two approaches, continuity-based editing is focused on creating a seamless narrative flow while Kino-Eye is more concerned with capturing raw reality and using editing to create a new meaning. Continuity-based editing is more common in narrative feature films, while Kino-Eye is often used in documentary films or experimental cinema. In conclusion, continuity-based editing and Kino-Eye are two distinct approaches to filmmaking with different goals and techniques. While continuity-based editing is focused on creating a seamless narrative flow, Kino-Eye emphasizes capturing raw reality and using editing to create a new meaning. Both styles have had a significant impact on the history of cinema and continue to influence filmmakers today.