I’ve recently submitted an article examining the aerial view as a visual modality. Two more film fragments by Vertov that have inspired me to think further on the subject:
The opening of A Sixth Part of the World (1926), in which Vertov juxtaposes omniscient vision from above, the slicing legs of foxtrotters, the powerful magnet of a construction crane and the small mole on the back of a bourgeois neck.
Another aerial view from the ending of The Eleventh Year (1928), where the technological advancements of Soviet aviation link Russia to its Chinese comrades via sight and flight.
This last sequence, with its views from below, from above, and from beside a soaring plane reminds me of Paula Amad’s excellent essay published last year in History of Photography, “From God’s Eye to Camera Eye: Aerial Photography’s Post-humanist and Neo-humanist Visions of the World.” Amad thoughtfully takes on the dialectic between abstracted knowledge in views from above and embodied knowledge in views from below, arguing for a more fluid, less dogmatic understanding of our encounters with this practice of looking.