Abstract
This paper explains that Vertov's film "A Man with a Movie Camera" is radical not only for how it transforms consciousness but also for allowing the viewer to observe how this transformation is accomplished. The author points out that Vertov has an avant-garde vision of a utopia where workers and machines are one. The paper relates that Vertov firmly believed that "the kino-glaz [the eye of cinema] was ideal for revealing the world of ordinary people.

From the Paper
""Man with a Movie Camera" illustrates a truly radical work of art. The film depicts not merely a day in the life of a city but is additionally a study of the art of filmmaking. Not only does the film demonstrate that art can transform consciousness, but the view actually can observe just how consciousness is transformed. Vertov was committed to the concept of the socialist documentary but aligned himself with the futurists. He firmly believed that "the kino-glaz [the eye of cinema] was ideal for revealing the world of ordinary people" (Dashiell 1)."

Tags:radical, transform, consciousness

Abstract
The paper examines the way that both Robert J. Flaherty and Dziga Vertov attempted to grapple with the complexities of reality through the cinematic process. The paper explores the ways that both Flaherty and Vertov utilized the newly emergent technology of the motion picture as a means of recording the external world. Ultimately, the paper thus considers whether the filmmakers were successful in eliciting a truthful representation of reality.

From the Paper
"Robert J. Flaherty and Dziga Vertov were two of the earliest proponents of documentary film. While the former lived and worked in the United States and the latter lived in Russia, both directors wound up having a significant impact - not only on the evolution of documentary film, but on the evolution of film in general. In the 1920s, when the motion picture was still a fragile, emerging art form, they managed to produce documentary films that have in many ways come to define both the limitations and possibilities of the genre. In the course of this essay, we will examine the way that both filmmakers attempted to grapple with the complexities of reality through the cinematic process."

Tags:sound, image, camera

Abstract
This paper describes how, while working within the most innovative period in Soviet cinema, before the coming of sound, Dziga Vertov created the film "Man with a Movie Camera", a tribute to the newly formed Communist State, urban environments and technological advancement. It analyzes how in order to create a variety of themes, including those comparing the bourgeois and working classes, man and machinery and the nature of film itself, Vertov uses editing to relate a series of seemingly unrelated shots. It looks at how these shots are comprised of five types of images: industrial construction, traffic, machinery, recreation and citizen-workers. It also shows how he constructs meaning through editing in the film to form an argument in favor of the newly formed soviet state by juxtaposing disjunctive images, but also linking the images through composition.

From the Paper
"The main theme of Vertov's film is a cameraman performing his daily routine in an urban environment, and this meaning is produced through the films ability to show both the cameraman at work and the reaction he receives from the people he films. The entire film is reflexive in the sense that the audience is constantly reminded that film is a constructed environment, designed by the filmmaker. Mixing in shots of the camera, the cameraman, and the editing process maintain the idea that the film is just a part of Vertov's usual routine. The sequence opens with a shot of the cameraman reflected in the camera's lens, continues with a shot of the urban setting in which the events will unfold, and then returns to the filmmaker's "work" of filming traffic."

Tags:working, classes, bourgeois, cameraman, recreation

Abstract
Vertov's approach to film is explored in the various roles presented in his film "The Man with a Movie Camera." First, the author discusses the role of the cameraman in the film. Next, he describes the role of the editor, and finally the role of the viewer. Additionally, Vertov's political and artistic philosophies as intertwined with filmaking are examined.

From the Paper
"In motion picture terminology, a montage (literally "putting together") is a form of movie collage consisting of a series of short shots which are edited into a coherent sequence. Viewers infer meaning based on context; Lev Kuleshov, in his Kuleshov Experiment established that montage is one way of leading the viewer to reach certain conclusions about the action in a film. David Griffith was one of the early proponents of montage, introducing cross-cutting to show parallel action in different locations, and codifying film grammar in other ways as well."

Tags:Vertov, Dziga, Soviet, avante-garde, film, documentary

Abstract
This paper explores the notion of montage within the film industry and the reasons it is used, be it political or artistic. It also looks into the role of the spectator in relation to montage by looking at the works of Russian film makers Sergei Mikhailovich Eisenstein, Dziga Vertov and Esfir Shub.

From the Paper
"Eisenstein's next work 'The Battleship Potemkin' (1925) uses similar ideology to Strike; the slaughter of the innocent and the need for uprising against the Cossacks. Here he seemed to refine his use of symbolic montage to get the spectators participation in Battleship Potemkin even stronger; the civilians are seen as more desperate individually and the slaughter is unashamedly cruel. Again all characters are based on the typage use of character actors, so the unity of the victims and spectator is still held up. This also applies to the fact that each actor is not in the scene for long, so there is no main protagonist, the protagonist is the united people as a whole, inviting the spectator to side with them. "

Tags:eisenstein, vertov, shub