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Vertov and believed
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.
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.
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 and film
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.
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 explains himself in " On ' Kinopravda '": in editing " chance film clippings " together for the Kino-Nedelia series, he " began to doubt the necessity of a literary connection between individual visual elements spliced together ....
'" Towards the end of the same essay, Vertov mentions an upcoming project which seems likely to be Man with the Movie Camera, calling it an " experimental film " made without a scenario ; just three paragraphs above, Vertov mentions a scene from " Kino Pravda " which should be quite familiar to viewers of Man with the Movie Camera: the peasant works, and so does the urban woman, and so too, the woman film editor selecting the negative ...."
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.
" 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.
For his film, however, Vertov had been hired by Mezhrabpomfilm, a Soviet studio that produced mainly propaganda efforts.
Lullaby, perhaps the last film in which Vertov was able to maintain his artistic vision, was released in 1937.
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.
Dziga Vertov claimed in his 1924 manifesto, The Birth of Kino-Eye that the cinema-eye is cinema-truth .” To paraphrase Hilmar Hoffman, this means that in film, only what the camera ‘ sees ’ exists, and the viewer, lacking alternative perspectives, conventionally takes the image for reality.
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.
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.
This film is famous for the range of cinematic techniques Vertov invents, deploys or develops, such as double exposure, fast motion, slow motion, freeze frames, jump cuts, split screens, Dutch angles, extreme close-ups, tracking shots, footage played backwards, stop motion animations and a self-reflexive style ( at one point it features a split screen tracking shot ; the sides have opposite Dutch angles ).
Vertov was worried that the film would be either destroyed or ignored by the public eye.
Upon the official release of Man with a Movie Camera, Vertov issued a statement at the beginning of the film, which read:
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.
The 1929 Russian film Man with a Movie Camera by Dziga Vertov featured nudity within the context of naturism.

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.
Vertov was born David Abelevich Kaufman () into a family of Jewish lineage in Białystok, Poland, then a part of the Russian Empire.
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 ".
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.
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.
" Cine-Eye " is a montage method developed by Dziga Vertov which was first formulated in his work " WE: Variant of a Manifesto " in 1919.
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.
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.
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 — born David Abelevich Kaufman — was an early pioneer in documentary film-making during the late 1920s.

Vertov and influence
With Lenin's admission of limited private enterprise through his New Economic Policy ( NEP ) of 1921, Russia began receiving fiction films from afar, an occurrence that Vertov regarded with undeniable suspicion, calling drama a " corrupting influence " on the proletarian sensibility (" On ' Kinopravda ,'" 1924 ).

Vertov and literature
This manifesto echoes an earlier one that Vertov wrote in 1922, in which he disavowed popular films he felt were indebted to literature and theater.

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

Vertov and these
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.
Some have mistakenly stated that many visual ideas, such as the quick editing, the close-ups of machinery, the store window displays, even the shots of a typewriter keyboard are borrowed from Walter Ruttmann's Berlin: Symphony of a Great City ( 1927 ), which predates Man with a Movie Camera by two years, but as Vertov wrote to the German press in 1929, these techniques and images had been developed and employed by him in his Kino-Pravda newsreels and documentaries for the last ten years, all of which predate Berlin.

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