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Vertov was born David Abelevich Kaufman () into a family of Jewish lineage in Białystok, Poland, then a part of the Russian Empire.
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Vertov and was
Dziga Vertov was central to the Soviet Kino-Pravda ( literally, " cinematic truth ") newsreel series of the 1920s.
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.
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Most of Vertov's early work was unpublished, and few manuscripts remain after the Second World War, though some material survived in later films and documentaries created by Vertov and his brothers,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.
" 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 — born David Abelevich Kaufman — was an early pioneer in documentary film-making during the late 1920s.
Vertov and 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 into
For example, in Man with a Movie Camera, two trains are shown almost melting into each other, although we are taught to see trains as not riding that close, Vertov tried to portray the actual sight of two passing trains.
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.
She had to go into that random pool of clips that Vertov filmed, edit it, and put it in some kind of order.
Vertov and family
Vertov studied music at Białystok Conservatory until his family fled from the invading German army to Moscow in 1915.
Vertov and Russian
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.
* 1896 – Dziga Vertov, Russian filmmaker ( d. 1954 )
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.
* January 2 – Dziga Vertov, Russian filmmaker ( d. 1954 )
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.
Italian Futurism influenced Russian Futurist cinema ( Lev Kuleshov, Dziga Vertov, Sergei Eisenstein, Vsevolod Pudovkin, Aleksandr Dovzhenko ) and German Expressionism.
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 1929 Russian film Man with a Movie Camera by Dziga Vertov featured nudity within the context of naturism.
Inspired by Russian constructivist art, the animated short features visual references to artists of the era including Vertov, Stenberg, Rodchenko, Lissitsky and Popova.
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.
The Kaufmans soon settled in Petrograd, where Vertov began writing poetry, science fiction and satire.
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.
In 1919, Vertov compiled newsreel footage for his documentary Anniversary of the Revolution ; in 1921 he compiled History of the Civil War.
" The Kino-Pravda group began its work in a basement in the centre of Moscow " Vertov explained.
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.
Vertov freely admitted one criticism leveled at his efforts on the " Kino-Pravda " series — that the series, while influential, had a limited release.
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.
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 Ukraine State Studio hired Vertov to create Man with a Movie Camera.
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.
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