Kinamo Ica

 

An extremely compact 35 mm movie camera Kinamo was designed by Emanuel Goldberg for amateur and semi-professional movies in 1921. A spring motor attte 1920s and early 1930 sachment was added in 1923 to allow flexible handheld filming. The Kinamo was used by Joris Ivens and other avant-garde and documentary filmmakers in the late 1920s and early 1930s.


Emanuel Goldberg:

Goldberg was born in Moscow on 31 August 1881. Earlier interested in engineering, he studied Chemistry at the University of Moscow and at several German universities, and remained in Germany after 1904 to avoid antisemitism in Russia. After a year as assistant to Adolf Miethe in the Photochemistry Laboratory at the Technical University in Charlottenburg, Berlin, he became head of the photographic department of the Royal Academy of Graphic Arts and Bookcraft, in Leipzig from 1907 to 1917.

In 1917 Goldberg was recruited by the Carl Zeiss Stiftung to become a director of its photographic products subsidiary Ica (Internationale Camera Aktien Gesellschaft) in Dresden where he introduced the spring-driven Kinamo movie camera. In 1926 a “Fusion” of four leading photographic firms (Contessa, Ernemann, Ica and Goerz) formed Zeiss Ikon under Goldberg’s leadership until he was kidnapped by Nazi thugs in 1933 and fled to Paris.

                                                           -bron: Wikipedia-









The name Kinamo, derived from Goldberg’s early studies of Greek (kine) and Latin (amo), meant ‘I love movies’


The camera features:


 •Lens: ICA Akt. - Ges. “Dominar”, 1:3,5/ F=4 cm, Nr. 584752,


  1. The film counter in meter,


  1. It has twin sprockets film feed,


  1. External fold view finder,


  1. It has a button for making a punch mark in a film at the beginning of the film sequenc,


  1. The camera contains the cassette of 25 meters of 35 mm film,


• Production serial number: 83946.

Joris Ivens met een Kinamo camera tijdens het filmen van De Brug.

Joris Ivens met een Kinamo camera.

(still uit De Brug 1928)

De Brug (The Bridge, 1928) is a portrait of the Hefbrug, Koningshaven in Rotterdam. The Hefbrug, the subject of The Bridge, is not a specially beautiful or monumental bridge. But Ivens’ achievement is to convey the importance of this bridge for the whole of Rotterdam. We have a sense of the commercial imperatives behind the bridge, and the intricacy of the mechanism needed to swing the bridge or raise the rail decking to allow ships to pass through. There is always a solid sense of context throughout the 14 minutes of the film. It opens with shots of a camera (Kinamo) and cameraman (Joris Ivens), immediately establishing a point of view for what follows. Again we have a mix of close-ups, and long shots, bird’s eye views and low angles. The sense of the bridge’s structure, its ways of operating, how it fits into the overall transport infrastructure of the city – all are conveyed through the visuals. It is a powerful example of how a silent film can convey its message without words. The Bridge was, as Ivens recognized, an important learning experience for him. In making it, he came up with procedures that helped him edit his material. He learned how to film movement. And he learned the overriding importance of knowing your material." (Peter Hourigan, Joris Ivens: Witness to the 20th Century, http://sensesofcinema.com/2009/feature-articles/joris-ivens-witness-to-the-20th-century/)

"I learned that when you film repetitive movement such as the action of a counterweight on the bridge, you have to observe this for a longer time and with greater attention than you would think. I learned from The Bridge that prolonged and creative observation is the only way to be sure of selecting, emphasising, and squeezing everything possible out of the rich reality in front of you. The filmmaker’s discovery that he was not smart enough the day before is more depressing than in any other medium of art... Space, light, height, wind and open air does not appear in a shot of its own accord, it has to be put there. There are lots of in between stages from shooting to public projection – developing, printing, editing, commentary, sound effects, music. At each stage the effect of the shot can be changed but the basic content must be in the shot to begin with." (Joris Ivens, in Hourigan) Joris Ivens Foundation: http://www.ivens.nl/welkom.asp"



Kinamo Ica camera nr. 83946.

Kinamo Ica camera nr. 83946.

Kinamo Ica camera nr. 83946.

Kinamo Ica filmcassette.

Kinamo Ica camera nr. 83946.

Regen (1929)

De Brug (1928)

Kinamo Ica camera nr. 83946.

Dominar 1:3,5 F=4cm nr. 584752