Dziga Vertov was central to the Soviet Kino-Pravda ( literally, " cinematic truth ") newsreel series of the 1920s.

# REDIRECT Dziga Vertov

# REDIRECT Dziga Vertov

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.

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.

He eventually adopted the name " Dziga Vertov ", which translates loosely as ' spinning top '.

" Cine-Eye " is a montage method developed by Dziga Vertov which was first formulated in his work " WE: Variant of a Manifesto " in 1919.

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.

Dziga Vertov died of cancer in 1954, after surviving, unscathed, Stalin's purges.

The Dziga Vertov Group borrowed his name.

In 1962, the first Soviet monograph on Vertov was published, followed by another collection, ' Dziga Vertov: Articles, Diaries, Projects.

"- Dziga Vertov

" Evolution of style in the early work of Dziga Vertov.

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

* 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.

* Senses Of Cinema: Dziga Vertov

cs: Dziga Vertov

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" Film Energy: Process and Metanarrative in Dziga Vertov's The Eleventh Year ( 1928 ).

Kino-Pravda (" Film Truth ") was a newsreel series by Dziga Vertov, Elizaveta Svilova, and Mikhail Kaufman.

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.

* Kino-Pravda (" Film Truth "), a newsreel series by Dziga Vertov, Elizaveta Svilova, and Mikhail Kaufman

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.

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

I, a machine, I am showing you a world, the likes of which only I can see " Dziga was quoted as saying.

" 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.

* Dziga Vertov's Man with the Movie Camera DVD, audio commentary track by Yuri Tsivian.

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.

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.

" Connoisseurs of Chaos: Whitman, Vertov and the ' Poetic Survey ,'" Literature / Film Quarterly 15: 4 ( Fall 1987 ): 247-258.

The Vertov Collection at the Austrian Film Museum, Bilingual ( German-English ).

Vertov believed the camera — with its varied lenses, shot-counter shot editing, time-lapse, ability to slow motion, stop motion and fast-motion — could render reality more accurately than the human eye, and made a film philosophy out of it.

Vertov was born David Abelevich Kaufman () into a family of Jewish lineage in Białystok, Poland, then a part of the Russian Empire.

Vertov studied music at Białystok Conservatory until his family fled from the invading German army to Moscow in 1915.

The Kaufmans soon settled in Petrograd, where Vertov began writing poetry, science fiction and satire.

In 1916-1917 Vertov was studying medicine at the Psychoneurological Institute in Saint Petersburg and experimenting with " sound collages " in his free time.

Most of Vertov's early work was unpublished, and few manuscripts remain after the Second World War, though some material survived in later films and documentaries created by Vertov and his brothers, Boris Kaufman and Mikhail Kaufman.

After the Bolshevik Revolution of 1917, at the age of 22, Vertov began editing for Kino-Nedelya (, the Moscow Cinema Committee's weekly film series, and the first newsreel series in Russia ), which first came out in June 1918.

Vertov worked on the Kino-Nedelya series for three years, helping establish and run a film-car on Mikhail Kalinin's agit-train during the ongoing Russian Civil War between Communists and counterrevolutionaries.

In 1919, Vertov compiled newsreel footage for his documentary Anniversary of the Revolution ; in 1921 he compiled History of the Civil War.

The so-called " Council of Three ," a group issuing manifestoes in LEF, a radical Russian newsmagazine, was established in 1922 ; the group's " three " were Vertov, his ( future ) wife and editor Elizaveta Svilova, and his brother and cinematographer Mikhail Kaufman.

In 1922, the year that Nanook of the North was released, Vertov started the Kino-Pravda series.

" The Kino-Pravda group began its work in a basement in the centre of Moscow " Vertov explained.

In the " Kino-Pravda " series, Vertov focused on everyday experiences, eschewing bourgeois concerns and filming marketplaces, bars, and schools instead, sometimes with a hidden camera, without asking permission first.

Vertov responds to their criticisms with the assertion that the critics were hacks nipping " revolutionary effort " in the bud, and concludes the essay with his promise to " explode art's tower of Babel.

Vertov freely admitted one criticism leveled at his efforts on the " Kino-Pravda " series — that the series, while influential, had a limited release.

By the end of the " Kino-Pravda " series, Vertov made liberal use of stop motion, freeze frames, and other cinematic " artificialities ," giving rise to criticisms not just of his trenchant dogmatism, but also of his cinematic technique.

By this time Vertov had been using his newsreel series as a pedestal to vilify dramatic fiction for several years ; he continued his criticisms even after the warm reception of Sergei Eisenstein's Battleship Potemkin in 1925.

Vertov lost his job at Sovkino in January 1927, possibly as a result of criticizing a film which effectively preaches the line of the Communist Party.

The Ukraine State Studio hired Vertov to create Man with a Movie Camera.

Vertov says in his essay " The Man with a Movie Camera " that he was fighting " for a decisive cleaning up of film-language, for its complete separation from the language of theater and literature.

" By the later segments of Kino-Pravda, Vertov was experimenting heavily, looking to abandon what he considered film clichés ( and receiving criticism for it ); his experimentation was even more pronounced and dramatic by the time of Man with a Movie Camera, which was filmed in Ukraine.

However, Vertov's two credos, often used interchangeably, are in fact distinct, as Yuri Tsivian points out in the commentary track on the DVD for Man with the Movie Camera: for Vertov, " life as it is " means to record life as it would be without the camera present.