I found amusingly interesting how a camera, the kino eye,
becomes personificated and shows the reader it point of view. The author names
this camera point of view as “kino eye”, which is “more perfect than human eye,”
constantly improving, and is “free” from human immobility. He does not demand,
but shares the idea to free the camera to what it known today, to experiment, to
montage, to take it beyond, to have fun, enjoy it and edit it by pleasure, to
show it with proudness, as the camera still lives, almost as an tribute to the
video camera. I agree that this is similar to the futurist manifesto.
On the other hand, the second article is more about types
and reactions of montages. The metric montage, based on the length of each
piece. The rhythmic montage, which the union is a rhythm, a patter by the
videos. Tonal montage, where the union of from the emotional tone throughout the
video. Last but not least, overtonal montage, which is everything and beyond
appeal. Again, this article reminds me of ethos, pathos and logos. It is a:
create a pattern to the eye, combine them with a union of music and latter
pattern, wrap it with emotional and personal touch, and make it last for the
audience.
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