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 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.

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.

* Senses Of Cinema: Dziga Vertov

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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 ).

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

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.

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.

:" The producer, Dziga Vertof, does not take into consideration the fact that the human eye fixes for a certain space of time that which holds the attention.

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.

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.

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.

Whereas Sergei Eisenstein viewed his montage of attractions as a propaganda tool through which the film-viewing masses could be subjected to “ emotional and psychological influence ” and therefore able to perceive “ the ideological aspect ” of the films they were being shown, Vertov believed the Kino-Eye would influence the actual evolution of man, “ from a bumbling citizen through the poetry of the machine to the perfect electric man .”

Vertov believed film was too “ romantic ” and “ theatricalised ” due to the influence of literature, theater, and music, and that these psychological film-dramas “ prevent man from being as precise as a stop watch and hamper his desire for kinship with the machine .”

Working mainly during the 1920s, Vertov promoted the concept of kino-pravda, or film-truth, through his newsreel series.

The Free Cinema movement in the United Kingdom during the 1950s, the Direct Cinema in North America in the late 1950s and early 1960s, and the Candid Eye series in Canada in the 1950s, all essentially owed a debt to Vertov.

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.

Vertov was worried that the film would be either destroyed or ignored by the public eye.

Working within a Marxist ideology, Vertov strove to create a futuristic city that would serve as a commentary on existing ideals in the Soviet world.