Abstract

Within the early Soviet Union, artists and theorists experimented with a variety of representational forms and modes that were designed to manipulate audience reception and effect a new Soviet subjectivity. Investigating Dziga Vertov's often overlooked and misread first feature-length film, Kino-Glaz (1924), this article discovers within this historical context a unique cinematic intervention that sought to institute an alternative hegemony to American narrative film, and dominant conventions of narrativity itself, by exploiting the subjects and composite forms of early cinema to evolve a new proletarian sphere.

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