This article or section includes a list of references or a list of external links, but its sources remain unclear because it lacks in-text citations. You can improve this article by introducing more precise citations.

Dziga Vertov

Dziga (Dzyga) Vertov (Russian: Дзига Вертов, Ukrainian: Дзиґа Вертов) January 2, 1896–February 12, 1954) was a Russian pioneer documentary film and newsreel director. His brothers Boris Kaufman and Mikhail Kaufman were also notable filmmakers. Image File history File links This is a lossless scalable vector image. ... Image File history File links Dziga_Vertov. ... Image File history File links Dziga_Vertov. ... is the 2nd day of the year in the Gregorian calendar. ... Year 1896 (MDCCCXCVI) was a leap year starting on Wednesday (link will display calendar). ... is the 43rd day of the year in the Gregorian calendar. ... Year 1954 (MCMLIV) was a common year (link will display full calendar) of the Gregorian calendar. ... Documentary film is a broad category of visual expression that is based on the attempt, in one fashion or another, to document reality. ... A newsreel is a documentary film that is regularly released in a public presentation place containing filmed news stories. ... Boris Kaufman (Russian: ; August 24, 1897-June 24, 1980) was an Oscar-winning (1954) cinematographer. ... Mikhail Kaufman with his camera Shooting from train Mikhail Abramovich Kaufman (1897-1979; Russian: ) was a Russian cinematographer and photographer. ...

Early years

Born David Abelevich Kaufman (Russian: Давид Абелевич Кауфман) into a family of Jewish intellectuals in Białystok, Congress Poland, then a part of the Russian Empire, he Russified his Jewish patronymic to Arkadievich in his youth. Kaufman studied music at Białystok Conservatory until his family fled from the invading German army to Moscow in 1915. The Kaufmans soon settled in St. Petersburg, where Denis Kaufman began writing poetry, science fiction and satire. In 1916-1917 Kaufman was studying medicine at the Psychoneurological Institute in St. Petersburg and experimenting with "sound collages" in his free time. Kaufman adopted the name "Dziga Vertov", which means "spinning top"; Vertov's political writings and his work on the Kino-Pravda newsreel series show a revolutionary romanticism. For other uses, see Jew (disambiguation). ... Coordinates: , Country Poland Voivodeship Podlachian Powiat city county Gmina BiaÅ‚ystok Established 14th century City Rights 1692 Government  - Mayor Tadeusz Truskolaski Area  - City 102 km²  (39. ... Map of Congress Poland. ... The subject of this article was previously also known as Russia. ... Russification is an adoption of the Russian language or some other Russian attribute (whether voluntarily or not) by non-Russian communities. ... Look up patronymic in Wiktionary, the free dictionary. ... The German Army (German: [1], [IPA: heɐ]  ) is the land component of the Bundeswehr (Federal Defence Forces) of the Federal Republic of Germany. ... For other uses, see Moscow (disambiguation). ... Year 1915 (MCMXV) was a common year starting on Friday (link will display the full calendar) of the Gregorian calendar (or a common year starting on Thursday[1] of the 13-day-slower Julian calendar). ... Saint Petersburg (Russian: Санкт-Петербу́рг, English transliteration: Sankt-Peterburg), colloquially known as Питер (transliterated Piter), formerly known as Leningrad (Ленингра́д, 1924–1991) and... This article is about the art form. ... Science fiction is a form of speculative fiction principally dealing with the impact of imagined science and technology, or both, upon society and persons as individuals. ... 1867 edition of the satirical magazine Punch, a British satirical magazine, ground-breaking on popular literature satire. ... 1916 (MCMXVI) was a leap year starting on Saturday (link will display the full calendar). ... 1917 (MCMXVII) was a common year starting on Monday of the Gregorian calendar (see link for calendar) or a common year starting on Tuesday of the 13-day slower Julian calendar (see: 1917 Julian calendar). ... Kino-Pravda was a newsreel series by Dziga Vertov, Elizaveta Svilova, and Mikhail Kaufman. ...

Career after the October Revolution

After the Bolshevik Revolution of 1917, at the age of 22, Vertov began editing for Kino-Nedelya (Кино-Неделя, the Moscow Cinema Committee's weekly film series, and the first newsreel series in Russia). While working for Kino-Nedelya he met Elizaveta Svilova, who at the time was employed in film preservation; she was later to become his wife. The first issue of the series came out in June 1918. The October Revolution, also known as the Bolshevik Revolution, was the second phase of the Russian Revolution, the first having been instigated by the events around the February Revolution. ... 1918 (MCMXVIII) was a common year starting on Tuesday of the Gregorian calendar (see link for calendar) or a common year starting on Wednesday of the Julian calendar. ...

Dziga Vertov (director) with brother Mikhail Kaufman (cameraman)

Vertov worked on the series for three years, helping establish and run a film-car on President Kalinin's agit-train during the ongoing Russian Civil War between Communists and counterrevolutionaries. Some of the cars on the agit-trains were equipped with actors for live performances or printing presses; Vertov's had equipment to shoot, develop, edit, and project film. The trains went to battlefronts on agitation-propaganda missions intended primarily to bolster the morale of the troops; they were also intended to stir up revolutionary fervor of the masses. Image File history File links Kaufman_brothers_mikhail_and_david. ... Image File history File links Kaufman_brothers_mikhail_and_david. ... Mikhail Kaufman with his camera Shooting from train Mikhail Abramovich Kaufman (1897-1979; Russian: ) was a Russian cinematographer and photographer. ... Kalinin refers to: Mikhail Ivanovich Kalinin The city of Tver, which from 1931 to 1990 was named after Kalinin. ... The Russian Civil War (1917-1922) began immediately after the collapse of the Russian provisional government and the Bolshevik takeover of Petrograd, rapidly intensifying after the dissolution of the Russian Constituent Assembly and signing of the Treaty of Brest-Litovsk. ... This article is about communism as a form of society and as a political movement. ... A counterrevolutionary is anyone who opposes a revolution, particularly those who act after a revolution to try to overturn or reverse it, in full or in part. ... The printing press is a mechanical device for printing many copies of a text on rectangular sheets of paper. ... Agitprop poster by Vladimir Mayakovsky. ...

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 wife and editor Elizaveta Svilova, and his brother and cinematographer Mikhail Kaufman. Vertov's interest in machinery led to a curiosity about the mechanical basis of cinema. Vertov's brother Boris Kaufman was a noted cinematographer who worked for directors such as Elia Kazan and Sidney Lumet; his other brother, Mikhail Kaufman, worked as Vertov's cinematographer until he became a documentarian in his own right. Year 1921 (MCMXXI) was a common year starting on Saturday (link will display the full calendar). ... The Russian Civil War (1917-1922) began immediately after the collapse of the Russian provisional government and the Bolshevik takeover of Petrograd, rapidly intensifying after the dissolution of the Russian Constituent Assembly and signing of the Treaty of Brest-Litovsk. ... Year 1922 (MCMXXII) was a common year starting on Sunday (link will display full calendar) of the Gregorian calendar. ... A Cameraman-Reporter during a MINUSTAH mission in 2007 (Photo: Patrick-André Perron A cinematographer is one photographing with a motion picture camera (the art and science of which is known as cinematography). ... Mikhail Kaufman with his camera Shooting from train Mikhail Abramovich Kaufman (1897-1979; Russian: ) was a Russian cinematographer and photographer. ... Boris Kaufman (Russian: ; August 24, 1897-June 24, 1980) was an Oscar-winning (1954) cinematographer. ... Elia Kazan, (Greek: Ηλίας Καζάν, IPA: ), (September 7, 1909 – September 28, 2003) was a Greek-American film and theatre director, film and theatrical producer, screenwriter, novelist and cofounder of the influential Actors Studio in New York in 1947. ... Portrait of Sidney Lumet, May 7, 1939. ...

Kino-Pravda

In 1922, the year that Nanook of the North was released, Vertov started the Kino-Pravda series. The series took its title from the official government newspaper Pravda. "Kino-Pravda" (literally translated, "film truth") continued Vertov's agit-prop bent. Nanook of the North is a silent documentary film by Robert J. Flaherty, released in 1922. ... Kino-Pravda was a newsreel series by Dziga Vertov, Elizaveta Svilova, and Mikhail Kaufman. ... Pravda (Russian: , The Truth) was a leading newspaper of the Soviet Union and an official organ of the Central Committee of the Communist Party between 1912 and 1991. ...

Vertov's driving vision, expounded in his frequent essays, was to capture "film truth"—that is, fragments of actuality which, when organized together, have a deeper truth that cannot be seen with the naked eye. 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. The episodes of "Kino-Pravda" usually did not include reenactments or stagings (one exception is the segment about the trial of the Social Revolutionaries: the scenes of the selling of the newspapers on the streets and the people reading the papers in the trolley were both staged for the camera). The cinematography is simple, functional, unelaborate—perhaps a result of Vertov's disinterest in both "beauty" and "art." Twenty-three issues of the series were produced over a period of three years; each issue lasted about twenty minutes and usually covered three topics. The stories were typically descriptive, not narrative, and included vignettes and exposés, showing for instance the renovation of a trolley system, the organization of farmers into communes, and the trial of Social Revolutionaries; one story shows starvation in the nascent Marxist state. Propagandistic tendencies are also present, but with more subtlety, in the episode featuring the construction of an airport: one shot shows the former Tsar's tanks helping prepare a foundation, with an intertitle reading "Tanks on the labor front." Marxism is both the theory and the political practice (that is, the praxis) derived from the work of Karl Marx and Friedrich Engels. ... Tsar (Bulgarian, Serbian and Macedonian цар, Russian  , in scientific transliteration respectively car and car ), occasionally spelled Czar or Tzar and sometimes Csar or Zar in English, is a Slavonic term designating certain monarchs. ...

Vertov clearly intended an active relationship with his audience in the series—in the final segment he includes contact information—but by the 14th episode the series had become so experimental that some critics dismissed Vertov's efforts as "insane." 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." In Vertov's view, "art's tower of Babel" was the subservience of cinematic technique to narrative, commonly known as the Institutional Mode of Representation. This article is about the Biblical story. ... In film theory, the Institutional Mode of Representation is the stylistic structure of narrative film construction that was developed during the classic Hollywood period. ...

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 freely admits 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. Vertov explains himself in "On 'Kinopravda'": in editing "chance film clippings" together for the Kino-Nedelia series, he "began to doubt the necessity of a literary connection between individual visual elements spliced together.... This work served as the point of departure for 'Kinopravda.'" 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...." Stop motion is an animation technique which makes things that are static appear to be moving. ... Freeze Frame is the twelfth album by American rock band J. Geils Band, released in 1981 (see 1981 in music). ... Opening shot A street in the morning Mikhail Kaufman acts as a cameraman in search of the best shot The Man with the Movie Camera, sometimes The Man with a Movie Camera, The Man with a Camera, or Living Russia (Chelovek s kino-apparatom, in Russian: ) is an experimental 1929...

Man with a Movie Camera

With Lenin's admission of limited private enterprise through his New Economic Policy, 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). 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. Potemkin was a heavily fictionalized film telling the story of a mutiny on a battleship which came about as a result of the sailors' mistreatment; the film was an obvious but skillful propaganda piece glorifying the proletariat. Vertov lost his job at Sovkino in January 1927, possibly as a result of criticizing a film which effectively preaches the Communist party line. This article needs additional references or sources for verification. ... Sergei Mikhailovich Eisenstein (Russian: Сергей Михайлович Эйзенштейн, Latvian: Sergejs EizenÅ¡teins) (January 23, 1898 – February 11, 1948) was a revolutionary Soviet film director and film theorist noted in particular for his silent films Strike, Battleship Potemkin and Oktober. ... For the battleship, see Russian battleship Potemkin article Броненосец Потемкин (1925) (variously Bronenosec Potemkin, Battleship Potemkin, Battleship Potyomkin and The Battleship Potemkin) is a 1925 silent film directed by Sergei Eisenstein. ... Year 1925 (MCMXXV) was a common year starting on Thursday (link will display the full calendar) of the Gregorian calendar. ... Sovkino was a studio in what now is Ukraine. ... Year 1927 (MCMXXVII) was a common year starting on Saturday (link will display full calendar) of the Gregorian calendar. ... This article is about communism as a form of society and as a political movement. ...

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." ^{[citation needed]} 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 the Movie Camera (filmed in Ukraine). Some have criticized the obvious stagings in Man With the Movie Camera as being at odds with Vertov's credos "life as it is" and "life caught unawares": the scene of the woman getting out of bed and getting dressed is obviously staged, as is the reversed shot of the chess pieces being pushed off a chess board and the tracking shot which films Mikhail Kaufman riding in a car filming a third car. Opening shot A street in the morning Mikhail Kaufman acts as a cameraman in search of the best shot The Man with the Movie Camera, sometimes The Man with a Movie Camera, The Man with a Camera, or Living Russia (Chelovek s kino-apparatom, in Russian: ) is an experimental 1929...

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. "Life caught unawares" means to record life when surprised, and perhaps provoked, by the presence of a camera. (16:04 on the commentary track). This explanation contradicts the common assumption that for Vertov "life caught unawares" meant "life caught unaware of the camera." All of these shots might conform to Vertov's credo "caught unawares." A major selling point of DVD video is that its storage capacity allows for a wide variety of extra features in addition to the feature film itself. ...

Cine-Eye

Dziga Vertov believed his concept of Cine-Eye would help contemporary man evolve from a flawed creature into a higher, more precise form. He compared man unfavorably to machines: “In the face of the machine we are ashamed of man’s inability to control himself, but what are we to do if we find the unerring ways of electricity more exciting than the disorderly haste of active people.”

Like other Russian filmmakers, he attempted to connect his ideas and techniques to the advancement of the aims of the Soviet Union. 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 Cine-Eye would influence the actual evolution of man, “from a bumbling citizen through the poetry of the machine to the perfect electric man.” Sergei Mikhailovich Eisenstein (Russian: Сергей Михайлович Эйзенштейн, Latvian: Sergejs EizenÅ¡teins) (January 23, 1898 – February 11, 1948) was a revolutionary Soviet film director and film theorist noted in particular for his silent films Strike, Battleship Potemkin and Oktober. ...

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.” He desired to move away from “the pre-Revolutionary ‘fictional’ models” of filmmaking to one based on the rhythm of machines, seeking to “bring creative joy to all mechanical labour” and to “bring men closer to machines.” [Quotes are from Vertov's essays, "The Factory of Facts" and "We. A Version of a Manifesto".]

Late career

Vertov's cinema success continued into the 1930s. In 1931, he released Enthusiasm: Symphony of the Donbass, an examination into Soviet miners. Enthusiasm has been called a 'sound film', with sound recorded on location, and these mechanical sounds woven together, producing a symphony-like effect. The 1930s (years from 1930–1939) were described as an abrupt shift to more radical and conservative lifestyles, as countries were struggling to find a solution to the Great Depression, also known as the World Depression. ... Year 1931 (MCMXXXI) was a common year starting on Thursday (link will display full 1931 calendar) of the Gregorian calendar. ... Categories: Stub | Regions of Ukraine | Ukrainian historical regions ...

Three years later, Three Songs about Lenin looked at the revolution through the eyes of the Russian peasantry. For his film, however, Vertov had been hired by Mezhrabpomfilm, a Soviet studio that produced mainly propaganda efforts. To conform to the studio's, and the Soviet government's expectations, the film was edited to include Stalin and provide a more acceptable, 'Stalinesque', ending ^[specify]. 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. Dziga Vertov died of cancer in 1954, after surviving, unscathed, Stalin's purges. Central portal of Gorky Film Studio Gorky Film Studio (in Russian, Киностудия имени Горького) is a film studio in Moscow, Russian Federation. ... Roses for Stalin, Boris Vladimirski, 1949 For other meanings of the term realism, see realism (disambiguation). ...

Influence

Vertov's legacy still lives on today. His independent, explorative style influenced and inspired many filmmakers and directors, including the Situationist Guy Debord and companies such as "Vertov Industries". The Situationist International (SI) was a small group of international political and artistic agitators with roots in Marxism, Lettrism and the early 20th century European artistic and political avant-gardes. ... Guy Ernest Debord (December 28, 1931, in Paris – November 30, 1994, in Champot) was a writer, film maker, hypergraphist and founding member of the groups Lettrist International and Situationist International (SI). ...

Quotes

• "It is far from simple to show the truth, yet the truth is simple." [1]

• "I am the machine that reveals the world to you as only I alone am able to see it."

Filmography

Poster for Kino-Glaz (1924)

• 1919 Кинонеделя (Kino Nedelya, Cinema Week)
• 1919 Годовщина революции (Anniversary of the Revolution)
• 1922 История гражданской войны (History of the Civil War)
• 1924 Советские игрушки (Soviet Toys)
• 1924 Кино-глаз (Kino Glaz, Cinema Eye)
• 1925 Киноправда (Kino Pravda)
• 1926 Шестая часть мира (A Sixth of the World/The Sixth Part of the World)
• 1928 Одиннадцатый (The Eleventh)
• 1929 Человек с киноаппаратом (Man with the Movie Camera)
• 1931 Энтузиазм (Enthusiasm)
• 1934 Три песни о Ленине (Three Songs about Lenin)
• 1937 Памяти Серго Орджоникидзе (Memories of Sergo Ordzhonikidze)
• 1937 Колыбельная (Lullaby)
• 1938 Три героини (Three Heroines)
• 1942 Казахстан — фронту! (Kazakhstan for the Front!)
• 1944 В горах Ала-Тау (In the Mountains of Ala-Tau)
• 1954 Новости дня (News of the Day)

Image File history File links Metadata No higher resolution available. ... Image File history File links Metadata No higher resolution available. ... Year 1919 (MCMXIX) was a common year starting on Wednesday (link will display the full calendar). ... Year 1919 (MCMXIX) was a common year starting on Wednesday (link will display the full calendar). ... Year 1922 (MCMXXII) was a common year starting on Sunday (link will display full calendar) of the Gregorian calendar. ... Year 1924 (MCMXXIV) was a leap year starting on Tuesday (link will display the full calendar) of the Gregorian calendar. ... Year 1924 (MCMXXIV) was a leap year starting on Tuesday (link will display the full calendar) of the Gregorian calendar. ... Year 1925 (MCMXXV) was a common year starting on Thursday (link will display the full calendar) of the Gregorian calendar. ... Year 1926 (MCMXXVI) was a common year starting on Friday (link will display the full calendar) of the Gregorian calendar. ... Year 1928 (MCMXXVIII) was a leap year starting on Sunday (link will display full calendar) of the Gregorian calendar. ... Year 1929 (MCMXXIX) was a common year starting on Tuesday (link will display the full calendar) of the Gregorian calendar. ... Opening shot A street in the morning Mikhail Kaufman acts as a cameraman in search of the best shot The Man with the Movie Camera, sometimes The Man with a Movie Camera, The Man with a Camera, or Living Russia (Chelovek s kino-apparatom, in Russian: ) is an experimental 1929... Year 1931 (MCMXXXI) was a common year starting on Thursday (link will display full 1931 calendar) of the Gregorian calendar. ... Year 1934 (MCMXXXIV) was a common year starting on Monday (link will display full 1934 calendar) of the Gregorian calendar. ... Year 1937 (MCMXXXVII) was a common year starting on Friday (link will display the full calendar) of the Gregorian calendar. ... Grigoriy Konstantinovich Ordzhonikidze (Russian:Григорий Константинович Орджоникидзе), generally known as Sergo Ordzhonikidze (Серго) (October 12, 1886 - February 18, 1937) was a member of the Politburo, and close friend to Stalin. ... Year 1937 (MCMXXXVII) was a common year starting on Friday (link will display the full calendar) of the Gregorian calendar. ... Year 1938 (MCMXXXVIII) was a common year starting on Saturday (link will take you to calendar). ... Year 1942 (MCMXLII) was a common year starting on Thursday (the link will display the full 1942 calendar) of the Gregorian calendar. ... 1944 (MCMXLIV) was a leap year starting on Saturday. ... Year 1954 (MCMLIV) was a common year (link will display full calendar) of the Gregorian calendar. ...

References

• Abstract Film and Beyond. Le Grice, Malcolm. Studio Vista, 1977.
• Beyond Document: Essays on Nonfiction Film. Warren, Charles, ed. Wesleyan University Press, 1996.
• Cinema's Second Avant-Garde by Christian M. Keathley (Master's Thesis, UF 1993).
• Documentary: a History of the Non-fiction Film. Barnouw, Erik. Oxford University Press. Original copyright 1974.
• The Documentary Idea: A Critical History of English-Language Documentary Film and Video. Ellis, Jack C. Prentice Hall, 1989.
• Documenting the Documentary: Close Readings of Documentary Film and Video. Grant, Barry Keith, and Jeannette Sloniowski, eds. "'Peace between Man and Machine': Dziga Vertov's The Man with a Movie Camera," by Seth Feldman, pp. 40-53.
• Kino-Eye : The Writings of Dziga Vertov, by Dziga Vertov. Michelson, Annette, editor; translated by Kevin O'Brien. (Paperback - August 1995), University of California Press
• Dziga Vertov's Man with the Movie Camera DVD, audio commentary track by Yuri Tsivian.
• Entuziazm (Simfonija Donbassa) DVD, restored version and unrestored version plus documentary on Peter Kubelka's restoration.
• Dziga Vertov. The Vertov Collection at the Austrian Film Museum, edited by Thomas Tode/Barbara Wurm/Austrian Film Museum. Bilingual (German-English). (Paperback - May 2006), FilmmuseumSynemaPublikationen, available at [www.filmmuseum.at].
• "Disorganized Noise: Enthusiasm and the Ear of the Collective." MacKay, John. Available at [www.kinokultura.com/articles/jan05-mackay.html].
• "Allegory and Accommodation: Vertov's Three Songs of Lenin (1934) as a Stalinist Film." MacKay, John. In Film History: An International Journal 18.4 (2006) 376-391.
• "New Vertov Studies." Special Issue of October, edited by Annette Michelson and Malcolm Turvey (October 121 (Summer 2007)).

Wikimedia Commons has media related to:

Dziga Vertov

Image File history File links Commons-logo. ...

See also

• Political Cinema

Political Cinema in the narrow sense of the term is a cinema which portrays current or historical events or social conditions in a partisan way in order to inform or to agitate the spectator. ...

External links

• Dziga Vertov at SensesOfCinema.com