Finding:

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   Dziga Vertov

   Dziga's slow motion, fast motion, and other camera techniques were a way to dissect the image, Vertov's brother Mikhail described in a interview. ... Thomas Tode, Barbara Wurm, Austrian Film Museum eds.Dziga Vertov.
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   Man with a Movie Camera

   This film is famous for the range of cinematic techniques Vertov invents, deploys or develops, such as double exposure, fast motion, slow motion, freeze frames, jump cuts, split screens, Dutch angles, extreme close-ups, tracking shots, footage played backwards, animations and a self-reflexive style (at one point it features a split screen tracking shot; the sides have opposite Dutch angles). ... | Written by | Dziga Vertov |
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   Constructivism (art)

   The filmmakers and LEF contributors Dziga Vertov and Sergei Eisenstein as well as the documentarist Esfir Shub also regarded their fast-cut, montage style of filmmaking as Constructivist.
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   Jean-Luc Godard

   It follows two young men, looking to score on a heist, who both fall in love with Karina, and quotes from several gangster film conventions. ... The Dziga Vertov group
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   Documentary film

   They were single-shot moments captured on film: a train entering a station, a boat docking, or a factory of people getting off work. ... "Dziga Vertov".
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   Tom Cora

   Besides performing, Cora composed music for the National Film Board of Canada, choreographer Donna Uchizono (for which he received a New York Dance and Performance Award in 1990), and a solo cello film score for Dziga Vertov's, Man with the Movie Camera, commissioned by the American Museum of the Moving Image.
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   Berlin: Symphony of a Great City

   Glass bulbs are produced, sheets of metal are cut, molten steel is poured, smokestacks are seen against the sky, and the first act ends. ... "Review from All Movie Guide". allmovie.com. "the film was heavily influenced by the earlier works of Russian filmmaker Dziga Vertov, and was itself very influential in fostering the 'city symphony' or 'opus' genre"
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   Sound film

   Cameras were noisy, so a soundproofed cabinet was used in many of the earliest talkies to isolate the loud equipment from the actors, at the expense of a drastic reduction in the ability to move the camera. ... Many similar experiments were pursued by Dziga Vertov in his 1931 Entuziazm and by Chaplin in Modern Times, a half-decade later.
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   Cinéma vérité

   The term originates in Dziga Vertov's Kino-Pravda (Russian for "cinema of truth"), a documentary series of the 1920s.
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    Kino-Pravda

    Kino-Pravda ("Film Truth") was a newsreel series by Dziga Vertov, Elizaveta Svilova, and Mikhail Kaufman.

Explore the following pages on Powerset:

• Dziga Vertov,
• Man with a Movie Camera,
• Constructivism (art),
• Jean-Luc Godard,
• Documentary film,
• Tom Cora,
• Berlin: Symphony of a Great City,
• Sound film,
• Cinéma vérité,
• Kino-Pravda