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 .”

In 1916-1917 Vertov was studying medicine at the Psychoneurological Institute in Saint Petersburg and experimenting with " sound collages " in his free time.

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

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.

The Vertov Collection at the Austrian Film Museum, Bilingual ( German-English ).

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 ).

Upon the official release of Man with a Movie Camera, Vertov issued a statement at the beginning of the film, which read:

Vertov was born David Abelevich Kaufman () into a family of Jewish lineage in Białystok, Poland, then a part of the Russian Empire.

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.

'" 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 ...."

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 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.

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 .”

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.

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.

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.

The films of Dziga Vertov, Sergei Eisenstein, Lev Kuleshov, Alexander Dovzhenko, and Vsevolod Pudovkin were instrumental in providing an alternate model from that offered by classical Hollywood.

Italian Futurism influenced Russian Futurist cinema ( Lev Kuleshov, Dziga Vertov, Sergei Eisenstein, Vsevolod Pudovkin, Aleksandr Dovzhenko ) and German Expressionism.

" The Kino-Pravda group began its work in a basement in the centre of Moscow " Vertov explained.

Alberto Cavalcanti directed Rien que les heures ( 1926 ), Walter Ruttmann directed Berlin: Symphony of a Metropolis ( 1927 ), and Dziga Vertov filmed Man With a Movie Camera ( 1929 ), experimental ¨ city symphonies ¨ of Paris, Berlin, and Moscow, respectively.

Dziga Vertov was central to the Soviet Kino-Pravda ( literally, " cinematic truth ") newsreel series of the 1920s.

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.

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.

The Kaufmans soon settled in Petrograd, where Vertov began writing poetry, science fiction and satire.

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 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.

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.

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.

Vertov responds to their criticisms with the assertion that the critics were hacks nipping " revolutionary effort " in the bud, and concludes the essay with his promise to " explode art's tower of Babel.

By the end of the " Kino-Pravda " series, Vertov made liberal use of stop motion, freeze frames, and other cinematic " artificialities ," giving rise to criticisms not just of his trenchant dogmatism, but also of his cinematic technique.

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.

The Ukraine State Studio hired Vertov to create Man with a Movie Camera.

" 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.

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.

The Negro composer Hall Johnson studied the American-Negro Suite and said of it, `` Of all the many songs written by white composers and employing what claims to be a Negroid idiom in both words and music, these six songs by Harold Arlen and Ted Koehler easily stand far out above the rest.

we studied, taught, and performed his piano sonatas, chamber music, gavottes, and marches ; ;

As a music scholar and organist, he studied the music of German composer Johann Sebastian Bach and influenced the Organ reform movement ( Orgelbewegung ).

He studied organ there from 1885 – 1893 with Eugène Munch, organist of the Protestant Temple, who inspired Schweitzer with his profound enthusiasm for the music of German composer Richard Wagner.

Ambros studied at the University of Prague and was well-educated in music and the arts, which were his abiding passion.

With Schoenberg he studied counterpoint, music theory, and harmony.

" Chaplin's early years in music hall allowed him to see stage comedians at work ; he also attended the Christmas pantomimes at Drury Lane, where he studied the art of clowning.

Mozart rapidly came to the attention of Haydn, who hailed the new composer, studied his works, and considered the younger man his only true peer in music.

They studied one another's works, copied one another's gestures in music, and on occasion behaved like quarrelsome rivals.

Alberti was born in Venice and studied music with Antonio Lotti.

Bowie studied art, music, and design, including layout and typesetting.

Complementing his language studies, Sapir studied music in the department of the famous composer Edward MacDowell, though it is uncertain if Sapir studied with MacDowell, or with other faculty.

People who studied traditional song sometimes hoped that their work would restore traditional music to the people.

He studied music as a puer ( boy chorister ) at San Luigi dei Francesi, under the maestro di capella Giovanni Bernardino Nanino, brother of Giovanni Maria Nanino.

He also studied the works of Johann Kuhnau, Kantor of the Thomaskirche and city director of music in Leipzig ; in his later years, Telemann recounted how much he learned about counterpoint from Kuhnau's work.

The time she studied music could also have been the beginning of the compositions she would later create.

While a student of law at Leipzig he studied music under Johann Sebastian Bach.

He originally studied music at Melk Abbey and philosophy at a Benedictine seminary in Vienna and became one of the most learned and skillful contrapuntists of his age.

He studied the music of pre-classical composers, including Giovanni Gabrieli, Johann Adolph Hasse, Heinrich Schütz, Domenico Scarlatti, George Frideric Handel, and, especially, Johann Sebastian Bach.

After taking private composition lessons with Franciszek Skolyszewski, Penderecki studied music at Jagiellonian University and the Academy of Music in Kraków under Artur Malawski and Stanislaw Wiechowicz.

She studied French, Spanish, music, dance, and perhaps Greek.

After little more than a year ( when he would have studied the regular trivium of grammar, rhetoric and logic, rather than the later quadrivium of geometry, arithmetic, music and astronomy / astrology ), he was forced to leave Avignon when the university closed its doors in the face of an outbreak of the plague.