Dziga Vertov - Man With A Movie Camera

Dziga Vertov is regard as an influencial, experimental and independant film maker. His collection of films echoes the realities of the Modern Soviet State. The relatively low cost of 16mm film allowed him to expand his experimentation, resulting in films comprised of acute camera angles, montage editing, split screen, fast cuts and forms of multi layering film. His most influencial piece ‘Man With A Movie Camera’, an experimentation of the documentary form addressing 'life caught unawares' as it is provoked or surprised by the presence of the camera. The film uses clips of news reels to add to the perception of reality. Vertov's films are a result of the reactions between "complex and poetic constructs of the perceived world"(d) and the concept of self-reflexivity in cinematic film. These theories and experimentations in film prepared Vertov for the introduction of sound. "By alternating the phrases with images, Vertov achieved the illusion of off-screen narration"(d) which he employed in ‘Enthusiasm, Donbass Symphony’ (1931), which became a success home and abroad. His ideas of using lighter equipment to allow accessibilty into rural parts of society, and smaller, multi skilled crews to allow greater movement, were ultimately dampened by the technological capabilities of the time. However, he did influence many, and his theories were put into practice when Direct Cinema established itself in later years.

"Thirty years after his time it became possible to apply Vertov's injunctions without any loss between the idea—to film everything, record everything, to be in life without disturbing or falsifying it—and its realisation. (Vertov had been restricted to filming public manifestations, crowds, ceremonies, etc and was unable to seize everyday life because his equipment could not pass unnoticed)."
J-L Comolli in Cahiers du cinÈma, nos 209, 211(d)

Dziga Vertov was a major contributor to the rise of Soviet Cinema. His documentary newsreel series Kino Pravda was created to deliberately act as propoganda material in order to agitate, influence and promote Socialist Realism and to experiment with concepts and ideas of documentary cinema. Vertov used his established skills of dynamic editing and montages, which carried political and social messages. The Kino Pravda series was a practical, informative and immediate medium to highlight current social, economical and political problems to the public.