In Kino- Eye, Vertov explores the ways in which cinematic art-dramas of his time are an emotional opiate of sorts, diluting and distorting the everyday, through the lens of the bourgeoisie. And, in this exploration, he explains his idealistic imagination of cinema as an extension of the communist agenda, a tool for the illumination and education of the masses on the familiar, the unfamiliar, and everything in between. The major dichotomies of these two types of cinema are as follows: Fiction vs. Non-Fiction, Fantasy vs. Reality, Bourgeoisie vs. Proletariat, Entertainment vs. Education, Diversion vs. Enlightenment. While many of these dichotomies hold up as the critical issues with cinema today, the last is a particularly potent battle within contemporary news culture wherein we have accepted the hidden “biases” of different venues of news such as Fox, MSBC, CNN, etc. and consequently, do not question the imperial truths if stated by ones own party. This is the same, inherently problematic, issue that Vertov seeks to eradicate: the covert influence of “scenario”. In the case of news, scenario is the decision to show only looters during the LA Riots rather than the full spectrum of events. The removal of scenario is necessary to the unbiased enlightenment of the people so that the masses can develop their own meaning from what they are shown, rather than being covertly fed bias as truth.


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