ABOUT

Moving imagery. Such is the prima materia of the film creation. We witness the recording of objects developing in visual and aural environments over a span of time. It is, we can conclude, a domain of the concrete. Yet, the possibilities of the medium have allowed us to see that the view from which these bodies are presented and examined can change (and not change) its position in the spatial and temporal plane. In that regard, the documented set of flicks doesn't only concern the evolution of physical entities over the length of its duration. It is also, then, about the flow of ideas.

And if the perspective is adjusted through each coverage of the cinematic scene shown at a given moment, not only is an idea born out of every angle of observation, but out of the relationships between them all. Sergei Eisenstein was aware of this, back in the 1920's when movies were an even younger medium. Identifying the montage of film shots as a means to representing ideology, he recalled to ideography: 

"The copulation (…) of two hieroglyphs of the simplest series is to be regarded not as their sum, but as their product, i.e., as a value of another dimension, another degree; each, separately, corresponds to an object, to a fact, but their combination corresponds to a concept. From separate hieroglyphs has been fused-the ideogram." (Eisenstein, 1929)

It is about this foundational notion that Kinographias is all about. Deriving its name and sense from the words "kino" (meaning film, as used by pioneer Dziga Vertov to refer to "kino-pravda" or film truths) and "graphias" (writing or drawing), the site you'll find here is home to an ongoing compilation of editing analysis of cuts found in films. These short entries are part of a project called "Cut-Together". You will also find longer form essays originally published in Spanish and in other websites - these are grouped under the Scene-Thesis label.

All in all, this is a place devoted to the navigation of the cinematic system, through the inherent junction that is its editing. In accordance with the certain arbitrarity that constitutes film language, so are the findings and conclusions that can be extracted from its study. That is why, if anything, the contents of this project should be understood within the category of 'Film Appreciation', the mission being to raise and develop the perception of cinema as a portal to grasp the world outside and inside us, and a motor of growth in our lives. Without further ado, welcome, enjoy, and reach out if you wish!

Daniel F.

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