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   Dziga Vertov

   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). ... 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

   The way Godard treated politics in his cinematic period was in the context of a joke, a piece of art, or a relationship, presented to be used as tools of reference, romanticizing the Marxist rhetoric, rather than solely being tools of education. ... The Dziga Vertov group
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   Documentary film

   Documentary, as it applies here, works to identify a "filmmaking practice, a cinematic tradition, and mode of audience reception" that is continually evolving and is without clear boundaries. ... "Dziga Vertov".
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   Sound film

   The Soviet Union's robust film industry came out with its first sound features in 1931: Dziga Vertov's nonfiction Entuziazm, with an experimental, dialogueless soundtrack, was released in the spring. ... [B]ecause the studios were forced to streamline operations and rely on their own resources, their individual house styles and corporate personalities came into much sharper focus.
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   Kinoks

   ↑ http://72.14.253.104/search?q=cache:254Iuo-m0HwJ:cours.cegep-st-jerome.qc.ca/511-411-p.l/vertov.htm+kinoks&hl=en&ct=clnk&cd=4&gl=us&client=firefox-a |Dziga Vertov (1896-1954)
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   Cinéma vérité

   In other words, new filmmaking modes initially appear to be true, unvarnished "reality" on the screen, but as time goes by that mode's conventions become more and more obvious. ... The term originates in Dziga Vertov's Kino-Pravda (Russian for "cinema of truth"), a documentary series of the 1920s.
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   Berlin: Symphony of a Great City

   As a "city symphony" film, it portrays the life of a city, mainly through visual impressions in a semi-documentary style, without the narrative content of more mainstream films, though the sequencing of events can imply a kind of "narrative" of the city's daily life. ... "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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    Cinema of the Soviet Union

    Dziga Vertov's newsreel series Kino-Pravda, the best known of these, lasted from 1922 to 1925 and had a propagandistic bent; Vertov used the series to promote Socialist realism but also to experiment with cinema. ... Animation was a respected genre, with many directors experimenting with technique.

Explore the following pages on Powerset:

• Dziga Vertov,
• Man with a Movie Camera,
• Constructivism (art),
• Jean-Luc Godard,
• Documentary film,
• Sound film,
• Kinoks,
• Cinéma vérité,
• Berlin: Symphony of a Great City,
• Cinema of the Soviet Union