Kinoglaz. Directed by Dziga Vertov. (Rodchenko A.) Soviet Posters (1917-1941)

This is a striking Constructivist poster for the 1924 Soviet film Kino-Glaz (Kino-Eye), directed by Dziga Vertov and photographed by Mikhail Kaufman.

What you see:

The poster is dominated by a large, stylized human eye at the top, looking directly at the viewer. Below the eye, in large, bold white letters, is the title КИНО ГЛАЗ (Kino Glaz). In the lower half of the poster, there are two images of mens faces, looking upwards with expressions that could be interpreted as awe or distress. Between these faces and below the title are two small, detailed illustrations of what appear to be film cameras or projectors. A prominent blue banner contains the number 6 and the word СЕРИЙ (Series), indicating this is part of a series. Below this, the names РАБОТА ДЗИГИ ВЕРТОВА (Work of Dziga Vertov) and ОПЕРАТОР КАУФМАН (Operator Kaufman) are clearly displayed. The top of the poster features the text ГОСКИНО ПРОИЗВОДСТВО ГОСКИНО (Goskino Production Goskino), identifying the production company and its state affiliation. Small text at the bottom provides the artists name (Rodchenko A.) and reiterates the films title, director, and year: Kino-Glaz. Dir. Dziga Vertov. 1924.

Subtexts:

• The All-Seeing Eye: The dominant eye symbolizes the power and reach of cinema. Vertov famously believed that the Kino-Eye could perceive reality more truthfully and comprehensively than the human eye. This poster visually asserts that cinematic vision is superior and all-encompassing.
• Revolutionary Vision and Truth: The poster, with its stark imagery and bold typography, is characteristic of Constructivism, an art movement that embraced industrial aesthetics and served the aims of the Russian Revolution. Kino-Glaz was a key film in Vertovs experimental approach to documentary filmmaking, aiming to reveal the hidden life of the flesh and chaos of life. The poster propagates this idea of cinema as a tool for revealing truth and for the advancement of the new Soviet society.
• The Masses and Their Experience: The two faces looking up could represent the audience being exposed to this powerful new cinematic vision, or perhaps the broader populace whose lives are being documented and presented. Their expressions hint at the emotional impact of Vertovs films, which often depicted both struggle and hope.
• Technological Advancement: The inclusion of the film equipment underscores the mechanical nature of cinema itself, a key aspect of Constructivisms fascination with technology and its potential to reshape society. It highlights the camera as a new, modern eye.
• State Control and Production: The Goskino branding clearly indicates that this film is a state-produced work, reinforcing the role of cinema as an instrument of propaganda and cultural dissemination in the Soviet Union.
• Artistic Modernism: The geometric shapes, bold contrasts, and dynamic composition are hallmarks of avant-garde art. This poster is not just promoting a film; its an artwork in itself, showcasing the artistic innovations of the era and Rodchenkos influential graphic design style.