Vertov is also known for quotes on perception, and its ineffability, in relation to the nature of qualia ( sensory experiences ).

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.

" 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 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.

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 ).

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.

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.

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.

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 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.

In 1919, Vertov compiled newsreel footage for his documentary Anniversary of the Revolution ; in 1921 he compiled History of the Civil War.

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 ....

By this time Vertov had been using his newsreel series as a pedestal to vilify dramatic fiction for several years ; he continued his criticisms even after the warm reception of Sergei Eisenstein's Battleship Potemkin in 1925.

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.

This explanation contradicts the common assumption that for Vertov " life caught unawares " meant " life caught unaware of the camera.

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.

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.

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.

By 1968, he had switched to an overtly political phase of revolutionary Maoist-collectivist didactic films with Jean-Pierre Gorin and the Dziga Vertov Group, which lasted for the next six years until 1973.

The independent, exploratory style of Vertov influenced and inspired many filmmakers and directors like the Situationist Guy Debord and independent companies such as " Vertov Industries ," in Hawaii.

It regularly presented work by filmmakers such as Ken Jacobs, Johan van der Keuken, Yvonne Rainer, Christine Vachon, Dziga Vertov and many others who created films that were outside of the commercial mainstream in the United States.

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 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.

Vertov — born David Abelevich Kaufman — was an early pioneer in documentary film-making during the late 1920s.

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.

For his film, however, Vertov had been hired by Mezhrabpomfilm, a Soviet studio that produced mainly propaganda efforts.

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

Vertov freely admitted one criticism leveled at his efforts on the " Kino-Pravda " series — that the series, while influential, had a limited release.

In the " Kino-Pravda " series, Vertov focused on everyday experiences, eschewing bourgeois concerns and filming marketplaces, bars, and schools instead, sometimes with a hidden camera, without asking permission first.

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 ).

In 1962, the first Soviet monograph on Vertov was published, followed by another collection, ' Dziga Vertov: Articles, Diaries, Projects.

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.

* 1995 – New composition was performed by the Alloy Orchestra of Cambridge, Massachusetts, based on notes left by Vertov.

In the " Kino-Pravda " series, Vertov focused on everyday experiences, eschewing bourgeois concerns and filming marketplaces, bars, and schools instead, sometimes with a hidden camera, without asking permission first.