THE KINO-EYE IN POETRY: DOCUMENTARY AND MONTAGE AS METHODS OF ARTISTIC EXPRESSION IN OLGA ANDREEVA’S POEM ABOUT DZIGA VERTOV |
| 3 | |
| 2025 |
| LITERATURE AND CINEMA |
| scientific article | 82-1, 791 | ||
| 28-42 | Ольга Андреева, Дзига Вертов, киноглаз, поэтический монтаж, документальная поэзия, авангард, историческая травма, медиа-критика, современная русская поэзия, интермедиальность, Olga Andreeva, Dziga Vertov, kino-eye, poetic montage, documentary poetry, avant-garde, historical trauma, media critique, contemporary Russian poetry, intermediality |
| This article offers a comprehensive analysis of Olga Andreeva’s poem dedicated to Dziga Vertov, featured in her poetry collection “The Eve of the Second Horseman” (2024). The study focuses on how Andreeva’s professional background as a civil engineer specializing in highway design influences her poetic style, where technical precision merges with lyrical fragmentation. The poem about Vertov serves as a key text that reveals the profound connection between the cinematic methods of the Soviet avant-garde and contemporary poetry. The analysis draws parallels between Vertov’s concept of the kino-eye and Andreeva’s poetic language. While Vertov sought to capture “life caught unawares” by rejecting scripts and staged performances, Andreeva employs similar techniques in literature: her poems resemble cinematic montages, where images emerge through associative leaps rather than narrative logic. The article examines such elements as disjointed rhythm, visual fragmentation, and documentary tone - all of which contribute to the cinematic quality of her poetry without direct references to film. A significant portion of the study is devoted to the poem’s placement within the collection. “The Eve of the Second Horseman” explores themes of linguistic crisis, the collapse of historical memory, and the impossibility of bearing witness in an age of catastrophe. In this context, Vertov’s figure becomes symbolic: his belief in the transformative power of documentary film clashes with the contemporary reality where any “truth” is subject to media distortion. Andreeva does not merely quote Vertov but engages in a dialogue with him, rethinking his ideas in the digital era. |
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