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 Man with the Movie Camera DVD, audio commentary track by Yuri Tsivian.

* 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.

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 ).

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.

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 ).

Dziga Vertof's avant-garde Russian film Man With a Movie Camera ( 1929 ) is almost entirely composed of jump cuts.

The 1929 Russian film Man with a Movie Camera by Dziga Vertov featured nudity within the context of naturism.

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.

Dziga said, " This dampness prevented our reels of lovingly edited film from sticking together properly, rusted our scissors and our splicers.

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.

Dziga Vertov claimed in his 1924 manifesto, “ The Birth of Kino-Eye ” that “ the cinema-eye is cinema-truth .” To paraphrase Hilmar Hoffman, this means that in film, only what the camera ‘ sees ’ exists, and the viewer, lacking alternative perspectives, conventionally takes the image for reality.

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.

French left-wing political filmmakers Jean-Luc Godard and Jean-Pierre Gorin, under the collective Dziga Vertov Group, made a film depicting the trials in 1970 called Vladimir et Rosa.

" Lines of resistance: Dziga Vertov and the twenties / edited and with an introduction by Yuri Tsivian.

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 Robilev of IGN rated Bugdom a 7 / 10, calling it " one of the best crafted platform games available for the Mac.

In 1968, Gorin and Godard founded the collective Dziga Vertov Group and together produced a series of overtly political films including Vent d ' est ( 1970 ), Tout va bien ( 1972 ), and Letter to Jane ( 1972 ).

Vertov clearly intended an active relationship with his audience in the series — in the final segment he includes contact information — but by the 14th episode the series had become so experimental that some critics dismissed Vertov's efforts as " insane ".

Vertov clearly intended an active relationship with his audience in the series — in the final segment he includes contact information — but by the fourteenth episode the series had become so experimental that some critics dismissed Vertov's efforts as " insane ".

In the 2012 Sight and Sound poll, the critics voted Vertov's Man with a Movie Camera ( 1929 ) the 8th best film ever made.

Some of the cars on the agit-trains were equipped with actors for live performances or printing presses ; Vertov's had equipment to shoot, develop, edit, and project film.

" Kino-Pravda " ( literally translated, " film truth ") continued Vertov's agit-prop bent.

Vertov's driving vision, expounded in his frequent essays, was to capture " film truth "— that is, fragments of actuality which, when organized together, have a deeper truth that cannot be seen with the naked eye.

Some have criticized the obvious stagings in this film as being at odds with Vertov's credos of " life as it is " and " life caught unawares ": the scene of the woman getting out of bed and getting dressed is obviously staged, as is the reversed shot of the chess pieces being pushed off a chess board and the tracking shot which films Mikhail Kaufman riding in a car filming a third car.

Vertov's feature film, produced by the Ukrainian film studio VUFKU, presents urban life in Odessa and other Soviet cities.

Vertov's purpose of all this was to break the mold of a linear film that the world was used to seeing in those days.

Vertov's crowning achievement, Man with a Movie Camera, was his response to critics who rejected his previous film, One-Sixth Part of the World.

Because of doubts before screening, and great anticipation from Vertov's pre-screening statements, the film gained great interest before even shown.

Once the film was finally screened, the public either embraced or dismissed Vertov's stylistic choices.

* 2008 October – London based Cinematic Orchestra undertook a show featuring a screening of Vertov's film, which preceded the re-issue of the Man With A Movie Camera DVD, in November.