Dziga Vertov: Man with the Movie Camera

Man with a Movie Camera, sometimes The Man with the Movie Camera, The Man with a Camera, The Man With the Kinocamera, or Living Russia (Russian: Человек с киноаппаратом, Chelovek s kino-apparatom; Ukrainian: Людина з кіноапаратом, Liudyna z kinoaparatom)) is an experimental 1929 silent documentary film by Russian director Dziga Vertov.

Dziga Vertov, or Denis Arkadevich Kaufman, was an early pioneer in documentary film-making during the late 1920s. He belonged to a movement of filmmakers known as the kinoks, or kinokis. Vertov, along with other kino artists declared it their mission to abolish all non-documentary styles of film-making. This radical approach to movie making led to a slight dismantling of film industry: the very field in which they were working. This being said, most of Vertov’s films were highly controversial, and the kinoc movement was despised by many filmmakers of the time. Vertov’s crowning achievement, Man with a Movie Camera was his response to the critics who rejected his previous film, One-Sixth Part of the World. Critics declared that Vertov’s overuse of “intertitles” was inconsistent with the code of film-making that the ‘kinos’ subscribed to.

Contemporary Project: Man With a Movie Camera: The Global Remake is a participatory video shot by people around the world who are invited to record images interpreting the original script of Vertov’s Man With A Movie Camera and upload them to this site. Software developed specifically for this project archives, sequences and streams the submissions as a film. Anyone can upload footage. When the work streams your contribution becomes part of a worldwide montage, in Vertov’s terms the “decoding of life as it is”.


5 thoughts on “Dziga Vertov: Man with the Movie Camera

  1. Overall, interesting. However, I feel as though some of the original feel of the film may be lost with some of the quirky synthesized music. However, I couldn’t really know since I haven’t experienced the film any other way. I enjoyed the multiple perspectives that were offered — i.e. 1st, 2nd, 3rd person. The way the information is presented is quite genius for the time period in which it is created. By that I mean the massive amounts of information that one is confronted with, layer upon layer, containing various aspects of late 1920’s contemporary Russian society. Eventually the public will receive information like this on a regular basis via advertisement in all media, news tickers, internet, etc. but not for decades. The main confusion I had was the purpose of the split screen shots other than for aesthetics.

  2. I participated in the remake, and it was very interesting to see the ways in which people can interpret individual scenes differently.
    I too was not as fond of the originals soundtrack when it was brought to video and would have liked to see the “original original”
    I think this “experiment” succeeded in bringing change to the movie industry, leading to many of the innovations in film-making that we see today.

  3. I actually wanted to type a simple note so as to express gratitude to you for those superb ideas you are giving out at this site. My considerable internet investigation has at the end been paid with reputable facts and techniques to talk about with my two friends. I ‘d declare that most of us readers are truly fortunate to be in a decent network with many marvellous professionals with great plans. I feel rather lucky to have discovered the site and look forward to many more pleasurable times reading here. Thanks a lot once again for all the details.

  4. For it’s time its a really well done. It’s almost to random for me, but it does keep the view interested. If you’re having an ADD day watch this video.

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