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.

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 Vertov's Kino-Eye and Three Songs About Lenin at UBUWEB

Kino-Eye: The Writings of Dziga Vertov, University of California Press, 1995.

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 ).

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.

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 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.

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.

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.

* 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.

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.

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.

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

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