How many of you have a digital photo camera and how many of you have uploaded pictures you’ve taken to the web? How many of you have browsed through thousand of stranger’s photographs?
I was in a lecture a few days ago and we were discussing jennycam and how it was something new, something that would lead to BigBrother. Apparently she was creating something new, something that had never thought of before.
That is only partially true and here’s the reason why.
Dziga Vertov lived in Russia at the beginning of the last century and at the time he worked in radio. His name, Dziga Vertov translated means spinning top. He began his work as a revolutionary when Lenin was still around. He was known for the programs he created. Within a short of time, he progressed onto the Agit trains and into film. The Agit trains were developed to carry information around the Soviet Union, in order to make sure that people all around this vast country would have a sense of belonging.
He developed a theory which was based around the Kino Glaz, the all-seeing eye, Kino is cinema, glaz, is glass. In other words the cinema glass. The idea which he developed, the vision he had was to get the video cameras everywhere and capture life unawares as he called them. In other words, he wanted to film ordinary people going about their ordinary lives without them acting for the camera.
This was a revolutionary concept that got him labeled by Sergei Eisenstein as a”film hooligan”. Keep in time Eisenstein’s famous sequences. Massive shadows on walls, vast skies, and highly staged video sequences. He created the theorie du montage(theory of construction – my translation) after all. In other words, he believed everything was staged.
If you’ve heard of “The Man With the Movie Camera” then you have seen “an experiment in six reels”. What Dziga Vertov did pre 1929 was do what Jean Rouch would do with André Coutant’s handheld cameras almost half a decade later.
What Dziga Vertov did first showed the theatre room, the seats animated to go down, the arc light to be set to produce a bright spark, and for the film to begin. He then proceeded to show the city waking up and continued from there. He juxtaposed the shots of the eyelids fluttering and the shutters, he got a person waking up from a bench and the city to start it’ daily activities. He was in effect not using narration in any strict sense of the term. It was nothing more than a collection of shots.
Aside from the shots, he showed his wife editing frame. It begins with nothing more than one frame, then a strip, then a person looking at one shot, another and we see it being assembled into a sequence. We see the camera move into a glass, move of its own accord, and more.
He was playing and he was setting the stage for something that would become increasingly important over time. Leni Riefenstahl in Triumph of the Will uses hundreds of cameras given to the audience to document the events (and spent three years editing the material) whilst the European Broadcasting Union had the first International broadcast in 1956. It was a moment in life seen from various capital cities in Europe. Each national audience could see that of many other countries. Vertov’s vision has just expanded.
As the technology evolved so people began to film everyday life, 16mm, VHS, Hi8, DV, and digital. They’re all mediums that allow for the capturing of life unawares. It’s the all-seeing eye. In the past five years, there’s been an explosion. Everyone has a digital camera, whether a crappy phone camera or a 12megapixel single-lens reflex. People are uploading these images to Flickr, to Zoomr, to Facebook. Everywhere. As a result of The kino glaz, all-seeing eye Vertov talked about is now mature.
The most recent event though has to be justin.tv, a San Franciscan who has decided to document his everyday life with a camera strapped to his head. No longer is the apartment enough. Now the world is seeing the daily life of a San Franciscan. Remember timecode? It’s like that but one person and live. There is no editing, no staging. I must admit there are some pranksters.
I listened to an interview he did for television where he spoke of people calling in a bust on his apartment, ordering pizza for him, and more. Quite amusing, far better than big brother.
To conclude I think that we’ve come to the All-seeing eye that Dziga Vertov was talking about almost a century ago and I find that it’s great. I love the idea that every aspect of life is being documented extensively.
