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Vertov — born David Abelevich Kaufman — was an early pioneer in documentary film-making during the late 1920s.
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Vertov and —
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.
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.
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 freely admitted one criticism leveled at his efforts on the " Kino-Pravda " series — that the series, while influential, had a limited release.
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.
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 ".
Vertov and born
Vertov was born David Abelevich Kaufman () into a family of Jewish lineage in Białystok, Poland, then a part of the Russian Empire.
Vertov and Kaufman
Most of Vertov's early work was unpublished, and few manuscripts remain after the Second World War, though some material survived in later films and documentaries created by Vertov and his brothers,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.
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.
To get footage using a hidden camera, Vertov and his brother Mikhail Kaufman ( the film's co-author ) had to distract the subject with something else even louder than the camera filming them.
Kino-Pravda (" Film Truth ") was a newsreel series by Dziga Vertov, Elizaveta Svilova, and Mikhail Kaufman.
* Kino-Pravda (" Film Truth "), a newsreel series by Dziga Vertov, Elizaveta Svilova, and Mikhail Kaufman
* Boris Kaufman, younger brother of Dziga Vertov
Vertov and was
Dziga Vertov was central to the Soviet Kino-Pravda ( literally, " cinematic truth ") newsreel series of the 1920s.
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.
In 1916-1917 Vertov was studying medicine at the Psychoneurological Institute in Saint Petersburg and experimenting with " sound collages " in his free time.
Vertov is known for many early writings, mainly while still in school, that focus on the individual versus the perceptive nature of the camera lens, which he was known to call his " second eye ".
In 1922, the year that Nanook of the North was released, Vertov started the Kino-Pravda series.
By this point in his career, Vertov was clearly and emphatically dissatisfied with narrative tradition, and expresses his hostility towards dramatic fiction of any kind both openly and repeatedly ; he regarded drama as another " opiate of the masses ".
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.
" Cine-Eye " is a montage method developed by Dziga Vertov which was first formulated in his work " WE: Variant of a Manifesto " in 1919.
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 .”
With the rise and official sanction of socialist realism in 1934, Vertov was forced to cut his personal artistic output significantly, eventually becoming little more than an editor for Soviet newsreels.
Lullaby, perhaps the last film in which Vertov was able to maintain his artistic vision, was released in 1937.
In 1962, the first Soviet monograph on Vertov was published, followed by another collection, ' Dziga Vertov: Articles, Diaries, Projects.
Around this time he was involved in the creation of the Filmliga based in Amsterdam which drew foreign filmmakers to Holland such as Alberto Cavalcanti, René Clair, Sergei Eisenstein, Vsevolod Pudovkin, and Dziga Vertov who also became his friends.
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.
Vertov was one of the first to be able to find a mid-ground between a narrative media and a database form of media.
Vertov and early
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.
New Media theorist Lev Manovich suggested Vertov as one of the early pioneers of database cinema genre in his essay Database as a symbolic form.
" Evolution of style in the early work of Dziga Vertov.
During the Russian Civil War between Communists and counter-revolutionaries, the early cinema pioneer Dziga Vertov helped establish and run a film-car on Mikhail Kalinin's agit-train.
The montage experiments carried out by Kuleshov in the late 1910s and early 1920s formed the theoretical basis of Soviet montage cinema, culminating in the famous films of the late 1920s by directors such as Sergei Eisenstein, Vsevolod Pudovkin and Dziga Vertov, among others.
Vertov and documentary
In 1919, Vertov compiled newsreel footage for his documentary Anniversary of the Revolution ; in 1921 he compiled History of the Civil War.
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.
Vertov and film-making
Vertov, along with other kino artists declared it their mission to abolish all non-documentary styles of film-making.
Vertov and during
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.
Working mainly during the 1920s, Vertov promoted the concept of kino-pravda, or film-truth, through his newsreel series.
Vertov and 1920s
The development of Russian cinema in the 1920s by such filmmakers as Dziga Vertov and Sergei Eisenstein saw considerable progress in the use of the motion picture as a propaganda tool, yet it also served to develop the art of moviemaking.
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