抄書 vol.3: kino-eye, dziga vertov

the work of kino-eye

[...]themes for initial observation can be split into roughly three categories:

1. observation of a place [...]
2. observation of a person or object in motion [...]
3. observation of a theme irrespective of particular persons or places [...]

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the kinoks and editing

[...]the kinoks distinguish among:

1. editing during observation --- orienting the unaided eye at any place, any time.
   
2. editing after observation --- mentally organizing what has been seen, according to characteristic features.
3. editing during filming --- orienting the aided eye of the movie camera in the place inspected in step 1. adjusting for the somewhat changed conditions of filming.
4. editing after filming --- roughly organizing the footage according to characteristic features. looking for the montage fragments that are lacking.
5. gauging by sight (hunting for montage fragments) --- instantaneous orienting in any visual environment so as to capture the essential link shots. exceptional attentiveness. a military rule: gauging by sight, speed, attack.
6. the final editing --- revealing minor, concealed themes together with the major ones. reorganizing all the footage into the best sequence. bringing out the corte of the film-object. coordinating similar elements, and finally, numerically calculating the montage groupings.