One of the major manifestos of the world cinema avant-garde. According to the aesthetic principles of Vertov, the film was not based on a script. In Man with a Movie Camera, Vertov implemented experiments that he carried out for many years and theoretical developments in cinematography and editing, turning the film into a film-making methodological guide for subsequent generations of directors. The camera of a talented cinematographer Mikhail Kaufman captures the motley life of Ukrainian megalopolises – Odesa, Kharkiv, and Kyiv – under New Economic Policy..A revelation in its day, the film was noted for introducing all sorts of camera techniques to audiences. Some of these include double exposure, fast motion, slow motion, freeze frames, jump cuts, split screens, Dutch angles, extreme close-ups, tracking shots, backward footage, and stop motion animation.
CLASSIC CINEMA SECTION
Man with a Movie Camera
Classics O’Clock III, Saturday March 2, 19:00
ENGLISH TITLE:
Man with a Movie Camera
ORIGINAL TITLE:
Chelovek’s kinoapparatom
DIRECTOR:
Dziga Vertov
COUNTRY:
Ukraine
GENRE:
Documentary
YEAR:
1929
LENGTH:
65’
CAST:
-
A QUOTE FOR THE FILM:
“One of the most essential movies of all time.”
SELECTIVE LIST OF FESTIVALS AND AWARDS:
Cinema Eye Honors Awards, 2014
DIRECTOR’S BIO:
Dziga Vertov (1896 in Bialystok, Grodno Governorate, Russian Empire now Podlaskie, Poland - 1954) was a director and writer, known for Man with a Movie Camera (1929), Three Songs About Lenin (1934) and The Sixth Part of the World (1926).
