Most of Vertov's early work was unpublished, and few manuscripts remain after the Second World War, though some material survived in later films and documentaries created by Vertov and his brothers,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

Vertov's brother Boris Kaufman was a noted cinematographer who worked much later for directors such as Elia Kazan and Sidney Lumet in America.

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.

) His other brother, Mikhail Kaufman, worked as Vertov's cinematographer until he became a documentarian in his own right.

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.

Vertov's message about the prevalence and unobtrusiveness of filming was not yet true — cameras might have been able to go anywhere, but not without being noticed ; they were too large to be hidden easily, and too noisy to remain hidden anyway.

Most of Vertov's films were highly controversial, and the kinoc movement was despised by many filmmakers of the time.

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 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 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.

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.

" In Vertov's view, " art's tower of Babel " was the subservience of cinematic technique to narrative, commonly known as the Institutional Mode of Representation.

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.

Critics declared that Vertov's overuse of " intertitles " was inconsistent with the film-making style the ' kinoks ' subscribed to.

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

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

Vertov's interest in machinery led to a curiosity about the mechanical basis of cinema.

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

The cinematography is simple, functional, unelaborate — perhaps a result of Vertov's disinterest in both " beauty " and the " grandeur of fiction.

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.

" All of these shots might conform to Vertov's credo " caught unawares.

Vertov's cinema success continued into the 1930s.

Vertov's legacy still lives on today.

His ideas are echoed in cinéma vérité, the movement of the 1960s named after Vertov's Kino-Pravda.

In 1960, Jean Rouch used Vertov's filming theory when making Chronicle of a Summer.

This revival of Vertov's legacy included rehabilitation of his reputation in the Soviet Union, with retrospectives of his films, biographical works and writings.

' To recall the 30th anniversary of Vertov's death, three New York cultural organizations put on the first American retrospective of Vertov's work.

" 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.

" Allegory and Accommodation: Vertov's Three Songs of Lenin ( 1934 ) as a Stalinist Film.

During the course of this struggle, several other brothers ( Boris, Gleb, and Svyatoslav ) were brutally murdered.

Books of brothers Arkady and Boris Strugatsky, and Kir Bulychev, among others, are reminiscent of social problems and often include satire on contemporary Soviet society.

The brothers Arkady (; August 28, 1925 – October 12, 1991 ) and Boris (; born April 14, 1933 ) Strugatsky (; alternate spellings: Strugatskiy, Strugatski, Strugatskii ) are Soviet-Russian science fiction authors who collaborated on their fiction.

The Strugatsky brothers ( or simply ), as they are usually called, although also known as "" (" Abeesy ", from ABS, Arkadiy and Boris Strugatsky ) in Russian, are perhaps the best-known Soviet science fiction writers with a well-developed fan base.

Contributors to CounterPunch have included Robert Fisk, Edward Said, Tim Wise, Ralph Nader, M. Shahid Alam, Tariq Ali, Ward Churchill, Lila Rajiva, Peter Linebaugh, Tanya Reinhart, Noam Chomsky, Frank " Chuck " Spinney, Diana Johnstone, Boris Kagarlitsky, Franklin Lamb, and Alexander Cockburn's two brothers: Andrew and Patrick, both of whom write on the Middle East and Iraq in particular.

Unbeknownst to Franky, Boris and the robber are brothers and plan to hire a third party to rob him of the diamond.

In January 1480, Ivan's brothers Boris Volotsky and Andrey Bolshoy became dissatisfied with his growing princely authority and turned against him.

Following Boris I ’ s principle that the sovereignty of the state is inextricably linked to the autocephaly of the Church, the two brothers immediately took steps to restore the Bulgarian Patriarchate.

After the Tsar's death in 1584, Nagaya, her son and her brothers were sent into exile to Uglich by Boris Godunov, where she lived until the mysterious death of tsarevich Dmitry in 1591.

In the 880s, Mutimir seized the throne, exiling his brothers and Klonimir, who was Strojimir's son, to the Bulgar Khanate ; the court of Boris I of Bulgaria.

Homes belonging to his brothers Richard, Alex, Boris, Walter and Bill were also searched at the same time by over 300 police.

Ludens, singular-Luden ( людены, люден ), are a humanoid race in the fictional Noon Universe created by the brothers Boris and Arkady Strugatsky.

Elena and her three brothers, Kirill, Boris, and Andrei, had an English nanny and spoke English as their first language.

Warned by her chauffeur Boris the Bagrov brothers ambush the mobsters using a Russian M1910 Maxim taken in the Historical Museum to destroy their pursuers.