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Dziga and Vertov's
In this regard, Grierson's definition of documentary as " creative treatment of actuality " has gained some acceptance, with this position at variance with Soviet film-maker Dziga Vertov's provocation to present " life as it is " ( that is, life filmed surreptitiously ) and " life caught unawares " ( life provoked or surprised by the camera ).
The continental, or realist, tradition focused on humans within human-made environments, and included the so-called " city symphony " films such as Walter Ruttmann's Berlin, Symphony of a City ( of which Grierson noted in an article that Berlin represented what a documentary should not be ), Alberto Cavalcanti's Rien que les heures, and Dziga Vertov's Man with the Movie Camera.
" Our Eyes, Spinning Like Propellers: Wheel of Life, Curve of Velocities, and Dziga Vertov's Theory of the Interval.
"' Peace between Man and Machine ': Dziga Vertov's The Man with a Movie Camera.
" Film Energy: Process and Metanarrative in Dziga Vertov's The Eleventh Year ( 1928 ).
* Dziga Vertov's Kino-Eye and Three Songs About Lenin at UBUWEB
Dziga Vertov's newsreel series Kino-Pravda, the best known of these, lasted from 1922 to 1925 and had a propagandistic bent ; Vertov used the series to promote socialist realism but also to experiment with cinema.
* Dziga Vertov's experimental 1929 film Man with a Movie Camera includes shots of trams ( at 10 and 42 minutes ).
The Soviet Union's robust film industry came out with its first sound features in December 1930: Dziga Vertov's nonfiction Entuziazm had an experimental, dialogueless soundtrack ; Abram Room's documentary Plan velikikh rabot ( The Plan of the Great Works ) had music and spoken voiceovers.
Rouch's films mostly belonged to the cinéma vérité school – a term that Edgar Morin used in a 1960 France-Observateur article referring to Dziga Vertov's Kinopravda.
* In a bit of ideological editing, the Bolshoi theater appears to be " destroyed " by the device of a split screen in Dziga Vertov's Man with a Movie Camera.
Besides performing, Cora composed music for the National Film Board of Canada, choreographer Donna Uchizono ( for which he received a New York Dance and Performance Award in 1990 ), and a solo cello film score for Dziga Vertov's, Man with the Movie Camera, commissioned by the American Museum of the Moving Image.
Other examples include Alberto Cavalcanti's Rien que les heures and Dziga Vertov's Man with a Movie Camera.
Dziga Vertov's 1929 experimental documentary Man with a Movie Camera is known to contain one of the first usages of the Dutch angle, among other innovative techniques discovered by Vertov himself.
Important Constructivists were very involved with cinema, with Mayakovsky acting in the film The Young Lady and the Hooligan ( 1919 ), Rodchenko's designs for the intertitles and animated sequences of Dziga Vertov's Kino Eye ( 1924 ), and Aleksandra Ekster designed the sets and costumes for the science fiction film Aelita ( 1924 ).
Other notable films of the period include Vsevolod Pudovkin's Mother ( 1926 ) and Dziga Vertov's Man with a Movie Camera ( 1929 ).

Dziga and Man
Man with a Movie Camera (, Chelovek s kinopparatom ) — sometimes called The Man with the Movie Camera, The Man with a Camera, The Man With the Kinocamera, or Living Russia — is an experimental 1929 silent documentary film, with no story and no actors, by Russian director Dziga Vertov, edited by his wife Elizaveta Svilova.
Dziga Vertof's avant-garde Russian film Man With a Movie Camera ( 1929 ) is almost entirely composed of jump cuts.
Alberto Cavalcanti directed Rien que les heures ( 1926 ), Walter Ruttmann directed Berlin: Symphony of a Metropolis ( 1927 ), and Dziga Vertov filmed Man With a Movie Camera ( 1929 ), experimental ¨ city symphonies ¨ of Paris, Berlin, and Moscow, respectively.
Narrative cinema is usually contrasted to films that present information, such as a nature documentary, as well as to some experimental films ( works such as Wavelength by Michael Snow, Man with a Movie Camera by Dziga Vertov, or films by Chantal Akerman ).
The 1929 Russian film Man with a Movie Camera by Dziga Vertov featured nudity within the context of naturism.

Dziga and with
" Lines of resistance: Dziga Vertov and the twenties / edited and with an introduction by Yuri Tsivian.
Eisenstein's first film, Glumov's Diary ( for the theatre production Wiseman ), was also made in that same year with Dziga Vertov hired initially as an " instructor.
He was deeply influenced by the ideas and practice of the film-maker Dziga Vertov, with whom he worked intensively in 1922.
He will later depart with Leitão de Barros in a visit through the European studios, where he'll meet Dziga Vertov and Eiseinstein.
By 1968, he had switched to an overtly political phase of revolutionary Maoist-collectivist didactic films with Jean-Pierre Gorin and the Dziga Vertov Group, which lasted for the next six years until 1973.

Dziga and by
David Abelevich Kaufman () ( 2 January 1896 – 12 February 1954 ) — better known by his pseudonym Dziga Vertov, or Vertof (, " spinning top ") — was a Soviet pioneer documentary film, newsreel director and cinema theorist.
" Cine-Eye " is a montage method developed by Dziga Vertov which was first formulated in his work " WE: Variant of a Manifesto " in 1919.
In 1962, the first Soviet monograph on Vertov was published, followed by another collection, ' Dziga Vertov: Articles, Diaries, Projects.
The development of Russian cinema in the 1920s by such filmmakers as Dziga Vertov and Sergei Eisenstein saw considerable progress in the use of the motion picture as a propaganda tool, yet it also served to develop the art of moviemaking.
Category: Films directed by Dziga Vertov
Kino-Pravda (" Film Truth ") was a newsreel series by Dziga Vertov, Elizaveta Svilova, and Mikhail Kaufman.
The films of Dziga Vertov, Sergei Eisenstein, Lev Kuleshov, Alexander Dovzhenko, and Vsevolod Pudovkin were instrumental in providing an alternate model from that offered by classical Hollywood.
* Kino-Pravda (" Film Truth "), a newsreel series by Dziga Vertov, Elizaveta Svilova, and Mikhail Kaufman
It regularly presented work by filmmakers such as Ken Jacobs, Johan van der Keuken, Yvonne Rainer, Christine Vachon, Dziga Vertov and many others who created films that were outside of the commercial mainstream in the United States.
* 1970: Le Vent d ' est directed by the Dziga Vertov Group
* 1971: Vladimir et Rosa directed by the Dziga Vertov Group
The montage experiments carried out by Kuleshov in the late 1910s and early 1920s formed the theoretical basis of Soviet montage cinema, culminating in the famous films of the late 1920s by directors such as Sergei Eisenstein, Vsevolod Pudovkin and Dziga Vertov, among others.

Dziga and .
Dziga Vertov was central to the Soviet Kino-Pravda ( literally, " cinematic truth ") newsreel series of the 1920s.
His filming practices and theories influenced the cinéma vérité style of documentary moviemaking and the Dziga Vertov Group, a radical filmmaking cooperative which was active in the 1960s.
Dziga said, " This dampness prevented our reels of lovingly edited film from sticking together properly, rusted our scissors and our splicers.
Dziga Vertov believed his concept of Kino-Glaz, or " Cine Eye " in English, would help contemporary man evolve from a flawed creature into a higher, more precise form.
I, a machine, I am showing you a world, the likes of which only I can see " Dziga was quoted as saying.
Dziga Vertov died of cancer in 1954, after surviving, unscathed, Stalin's purges.
The Dziga Vertov Group borrowed his name.
" Evolution of style in the early work of Dziga Vertov.
Dziga Vertov: Defining Documentary Film.
* Thomas Tode, Barbara Wurm, Austrian Film Museum eds. Dziga Vertov.
Lines of Resistance: Dziga Vertov and the Twenties.
* Dziga Vertov.
Kino-Eye: The Writings of Dziga Vertov, University of California Press, 1995.
* Dziga Vertov.
It largely evolved from the works of directors like Germaine Dulac, Louis Delluc, Jean Epstein, Sergei Eisenstein, Lev Kuleshov, and Dziga Vertov and film theorists like Rudolf Arnheim, Béla Balázs and Siegfried Kracauer.

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