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Dziga Vertov is a Director, Writer and Editor Russe born on 3 january 1896 at Białystok (Pologne)
David Abelevich Kaufman (Russian: Дави́д А́белевич Ка́уфман) (2 January 1896 – 12 February 1954) — also known as Denis Kaufman or his pseudonym Dziga Vertov 'or Vertof (Ukrainian: Дзи́га Ве́ртов, "spinning top") — was a Soviet pioneer documentary film, newsreel director and cinema theorist. His filming practices and theories influenced the cinéma vérité style of documentary moviemaking and the Dziga Vertov Group, a radical filmmaking cooperative which was active in the 1960s.
In the 2012 Sight and Sound poll, the critics voted Vertov's Man with a Movie Camera (1929) the 8th best film ever made.
Vertov's brothers Boris Kaufman and Mikhail Kaufman were also noted filmmakers, as was his wife, Elizaveta Svilova.
Vertov was born David Abelevich Kaufman (Russian: Давид А́белевич Кауфман) into a family of Jewish lineage in Białystok, Poland, then a part of the Russian Empire. His father was a librarian. He Russified his Jewish name David and patronymic Abelevich to Denis Arkadievich at some point after 1918. Vertov studied music at Białystok Conservatory until his family fled from the invading German army to Moscow in 1915. The Kaufmans soon settled in Petrograd, where Vertov began writing poetry, science fiction and satire. In 1916-1917 Vertov was studying medicine at the Psychoneurological Institute in Saint Petersburg and experimenting with "sound collages" in his free time. He eventually adopted the name "Dziga Vertov", which translates loosely from Ukrainian as 'spinning top'.
Early writings
Vertov is known for many early writings, mainly while still in school, that focus on the individual versus the perceptive nature of the camera lens, which he was known to call his "second eye".
Most of Vertov's early work was unpublished, and few manuscripts remain after the Second World War, though some material survived in later films and documentaries created by Vertov and his brothers, Boris Kaufman and Mikhail Kaufman.
Vertov is also known for quotes on perception, and its ineffability, in relation to the nature of qualia (sensory experiences).
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), which first came out in June 1918. While working for Kino-Nedelya he met his future wife, the film director and editor, Elizaveta Svilova, who at the time was working as an editor at Goskino. She began collaborating with Vertov, beginning as his editor but becoming assistant and co-director in subsequent films, such as Man with a Movie Camera (1929), and Three Songs About Lenin (1934).
Vertov worked on the Kino-Nedelya series for three years, helping establish and run a film-car on Mikhail 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.
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 (future) 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.
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. "The Kino-Pravda group began its work in a basement in the centre of Moscow" Vertov explained. He called it damp and dark. There was an earthen floor and holes one stumbled into at every turn. Dziga said, " This dampness prevented our reels of lovingly edited film from sticking together properly, rusted our scissors and our splicers." "Before dawn- damp, cold, teeth chattering- I wrap comrade Svilova in a third jacket." [quotation needed]
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 the "grandeur of fiction." 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 Communist 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."
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.
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 admitted 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...."
Man with a Movie Camera
With Lenin's admission of limited private enterprise through his New Economic Policy (NEP) of 1921, 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 line of the Communist Party. He was fired for making A Sixth Part of the World: Advertising and the Soviet Universe for the State Trade Organization into a propaganda film, selling the Soviet as an advanced society under the NEP, instead of showing how they fit into the world economy. The Ukraine State Studio hired Vertov to create Man with a Movie Camera.
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." 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 a Movie Camera, which was filmed in Ukraine. Some have criticized the obvious stagings in this film as being at odds with Vertov's credos of "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.
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. 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." His slow motion, fast motion, and other camera techniques were a way to dissect the image, Mikhail Kaufman stated in an interview. It was to be the honest truth of perception. For example, in Man with a Movie Camera, two trains are shown almost melting into each other, although we are taught to see trains as not riding that close, Vertov tried to portray the actual sight of two passing trains. Mikhail spoke about Eisenstein's films as being different from his and his brother's in that Eisenstein, "came from the theatre, in the theatre one directs dramas, one strings beads." "We all felt...that through documentary film we could develop a new kind of art. Not only documentary art, or the art of chronicle, but rather an art based on images, the creation of an image-oriented journalism" Mikhail explained. More than even film truth, Man with a Movie Camera, was supposed to be a way to make those in the Soviet Union more efficient in their actions. He slowed down his actions, such as the decision whether to jump or not, you can see the decision in his face, a psychological dissection for the audience. He wanted a peace between the actions of man and the actions of a machine, for them to be, in a sense, one.
Cine-Eye
"Cine-Eye" is a montage method developed by Dziga Vertov which was first formulated in his work "WE: Variant of a Manifesto" in 1919.
Dziga Vertov believed his concept of Kino-Glaz, or "Cine Eye" in English, 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 [...]” "I am an eye. I am a mechanical eye. I, a machine, I am showing you a world, the likes of which only I can see" Dziga was quoted as saying.
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 creative 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 watching, Vertov believed the Kino-Eye would influence the actual evolution of man, “from a bumbling citizen through the poetry of the machine to the perfect electric man.”
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.”
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.
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. The film, finished in January 1934 for Lenin's obit, was only publicly released in November of that year. A new version of the film was published in 1938, including a longer sequence to reflect Stalin's "achievements" at the end of the film and leaving out footage with "enemies" of that time. Today there exists a 1970 reconstruction by Elizaveta Svilova. 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 Moscow in 1954.
Source : Wikidata
Dziga Vertov
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Birth name David Abelevich Kaufman
Nationality Russie
Birth 3 january 1896 at Białystok (Pologne)
Death 11 february 1954 (at 58 years) at Moscow (Russie)
Awards Order of the Red Star
Nationality Russie
Birth 3 january 1896 at Białystok (Pologne)
Death 11 february 1954 (at 58 years) at Moscow (Russie)
Awards Order of the Red Star
In the 2012 Sight and Sound poll, the critics voted Vertov's Man with a Movie Camera (1929) the 8th best film ever made.
Vertov's brothers Boris Kaufman and Mikhail Kaufman were also noted filmmakers, as was his wife, Elizaveta Svilova.
Biography
Early yearsVertov was born David Abelevich Kaufman (Russian: Давид А́белевич Кауфман) into a family of Jewish lineage in Białystok, Poland, then a part of the Russian Empire. His father was a librarian. He Russified his Jewish name David and patronymic Abelevich to Denis Arkadievich at some point after 1918. Vertov studied music at Białystok Conservatory until his family fled from the invading German army to Moscow in 1915. The Kaufmans soon settled in Petrograd, where Vertov began writing poetry, science fiction and satire. In 1916-1917 Vertov was studying medicine at the Psychoneurological Institute in Saint Petersburg and experimenting with "sound collages" in his free time. He eventually adopted the name "Dziga Vertov", which translates loosely from Ukrainian as 'spinning top'.
Early writings
Vertov is known for many early writings, mainly while still in school, that focus on the individual versus the perceptive nature of the camera lens, which he was known to call his "second eye".
Most of Vertov's early work was unpublished, and few manuscripts remain after the Second World War, though some material survived in later films and documentaries created by Vertov and his brothers, Boris Kaufman and Mikhail Kaufman.
Vertov is also known for quotes on perception, and its ineffability, in relation to the nature of qualia (sensory experiences).
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), which first came out in June 1918. While working for Kino-Nedelya he met his future wife, the film director and editor, Elizaveta Svilova, who at the time was working as an editor at Goskino. She began collaborating with Vertov, beginning as his editor but becoming assistant and co-director in subsequent films, such as Man with a Movie Camera (1929), and Three Songs About Lenin (1934).
Vertov worked on the Kino-Nedelya series for three years, helping establish and run a film-car on Mikhail 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.
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 (future) 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.
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. "The Kino-Pravda group began its work in a basement in the centre of Moscow" Vertov explained. He called it damp and dark. There was an earthen floor and holes one stumbled into at every turn. Dziga said, " This dampness prevented our reels of lovingly edited film from sticking together properly, rusted our scissors and our splicers." "Before dawn- damp, cold, teeth chattering- I wrap comrade Svilova in a third jacket." [quotation needed]
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 the "grandeur of fiction." 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 Communist 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."
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.
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 admitted 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...."
Man with a Movie Camera
With Lenin's admission of limited private enterprise through his New Economic Policy (NEP) of 1921, 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 line of the Communist Party. He was fired for making A Sixth Part of the World: Advertising and the Soviet Universe for the State Trade Organization into a propaganda film, selling the Soviet as an advanced society under the NEP, instead of showing how they fit into the world economy. The Ukraine State Studio hired Vertov to create Man with a Movie Camera.
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." 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 a Movie Camera, which was filmed in Ukraine. Some have criticized the obvious stagings in this film as being at odds with Vertov's credos of "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.
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. 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." His slow motion, fast motion, and other camera techniques were a way to dissect the image, Mikhail Kaufman stated in an interview. It was to be the honest truth of perception. For example, in Man with a Movie Camera, two trains are shown almost melting into each other, although we are taught to see trains as not riding that close, Vertov tried to portray the actual sight of two passing trains. Mikhail spoke about Eisenstein's films as being different from his and his brother's in that Eisenstein, "came from the theatre, in the theatre one directs dramas, one strings beads." "We all felt...that through documentary film we could develop a new kind of art. Not only documentary art, or the art of chronicle, but rather an art based on images, the creation of an image-oriented journalism" Mikhail explained. More than even film truth, Man with a Movie Camera, was supposed to be a way to make those in the Soviet Union more efficient in their actions. He slowed down his actions, such as the decision whether to jump or not, you can see the decision in his face, a psychological dissection for the audience. He wanted a peace between the actions of man and the actions of a machine, for them to be, in a sense, one.
Cine-Eye
"Cine-Eye" is a montage method developed by Dziga Vertov which was first formulated in his work "WE: Variant of a Manifesto" in 1919.
Dziga Vertov believed his concept of Kino-Glaz, or "Cine Eye" in English, 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 [...]” "I am an eye. I am a mechanical eye. I, a machine, I am showing you a world, the likes of which only I can see" Dziga was quoted as saying.
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 creative 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 watching, Vertov believed the Kino-Eye would influence the actual evolution of man, “from a bumbling citizen through the poetry of the machine to the perfect electric man.”
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.”
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.
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. The film, finished in January 1934 for Lenin's obit, was only publicly released in November of that year. A new version of the film was published in 1938, including a longer sequence to reflect Stalin's "achievements" at the end of the film and leaving out footage with "enemies" of that time. Today there exists a 1970 reconstruction by Elizaveta Svilova. 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 Moscow in 1954.
Usually with
Filmography of Dziga Vertov (6 films)
Director
Add to a movie list
Directed by Dziga Vertov
Genres Documentary
Themes Documentary films about politics, Political films
Rating56%
Lullaby (1937)
Directed by Dziga Vertov
Genres Documentary
Themes Documentary films about politics, Political films
Rating67%
Three Songs About Lenin (1934)
, 59minutesDirected by Dziga Vertov
Origin Russie
Genres Documentary
Rating64%
La narration est faite par cartons qui prennent tout l'écran dont les phrases sont courtes et directes, qui se manifestent environ toutes les 5 minutes au long du film de manière à tenir le spectateur attentif.
Enthusiasm (1930)
, 1h5Directed by Dziga Vertov
Origin Russie
Genres Documentary
Rating67%
Les premiers plans montrent des plans de croyants se signant devant une église et ses icônes juxtaposés à ceux d'ivrognes gisant dans la rue. Puis des masses laborieuses se dirigent vers une église, abattent les croix et coupoles et évacuent les icônes. Elles les remplacent par des étoiles rouges.
Man with a Movie Camera (1929)
, 1h20Directed by Dziga Vertov
Origin Russie
Genres Drama, Documentary
Themes Films about films
Actors Mikhail Kaufman
Rating82%
Une journée de la vie quotidienne à Odessa: un opérateur filme, une monteuse visionne ses images, des spectateurs regardent le film qui est fait.
A Sixth Part of the World (1926)
, 1h13Directed by Dziga Vertov
Origin Russie
Genres Documentary
Themes Politique, Political films
Rating71%
Vertov starts by showing us, with intertitles in giant Cyrillic characters, what he sees (Вижу) about the capitalist West with its foxtrot and black minstrels, and then switches his attention to the audience (Вы) and then the individual viewer (Ты). In one self-reflexive moment, Vertov even shows cinema-goers watching an earlier piece of the film (‘And you sitting in the audience’). He takes us on a tour of the vital importance of agricultural production, which generates export revenue (shot of the ship’s nameplate ‘Greenwich’) so that Russia can buy machines to build more machines (shots of a milling machine). This gives him the pretext to take us on a Cook’s tour of the extremities of the Soviet Union: we see the icebreaker Lenin (amazing shot downwards from above the prow) delivering new dogs to the Samoyeds on Novaya Zemlya, and their being invited on board to listen to a gramophone recording of the great man himself. We go to Bukhara where one of the mosques is looking very dingy and crumbled, and to Leningrad where the trams run down the middle of broad empty boulevard as a horse-drawn carriage turns out. We see a Kirghiz with a giant eagle perched on his arm, a bear encircled by yapping dogs, a fox caught in a trap and another one that is a child’s pet, guillemots, gulls, a man shooting a sable in the top of a pine tree, a pine marten, sheep being dragged into the sea for a wash and other sheep being obliged to jump into a stream for the same purpose - the intertitles are surreal: (“You – whether you are washing your sheep in the sea (film) or whether you are washing your sheep in the river (film)…”, We see trappers bringing their furs to the Госторг (Gostorg) trading post in exchange for manufactured goods, everyone contributing to the national economy. Ironically, the furs are destined for the Leipzig fair (ярмаркт). In an amazing stop-frame sequence, rows of oranges align themselves in a packing box, wadges of packing material shuffle along and jump on top of them, and then the lids close (you can just see the line pulling one of the sides). We see coke being quenched also, as well as electricity pylons and insulators, and the village electricity co-op. We see sturgeon being hoiked out of tanks to make caviar. We see barrels of butter – 'it is yours!' We see wheat being threshed, linen being spun and cotton being ginned. We see the country being modernised, although there are still some people who trust in Mohammed (film) or Christ (a man telling his rosary) or Buddha (film) and we are shown a Siberian shaman looking remarkably like a North American Indian, and even a reindeer being slaughtered (by axe blows to the neck) as a sacrifice. We see crowds of women in full-face veils, but also a modernising country as a woman lifts her veil. And we see some tundra-dwellers eating raw reindeer meat.
Scriptwriter
Lullaby (1937)
Directed by Dziga Vertov
Genres Documentary
Themes Documentary films about politics, Political films
Roles Screenstory
Rating67%
Three Songs About Lenin (1934)
, 59minutesDirected by Dziga Vertov
Origin Russie
Genres Documentary
Roles Writer
Rating64%
La narration est faite par cartons qui prennent tout l'écran dont les phrases sont courtes et directes, qui se manifestent environ toutes les 5 minutes au long du film de manière à tenir le spectateur attentif.
Man with a Movie Camera (1929)
, 1h20Directed by Dziga Vertov
Origin Russie
Genres Drama, Documentary
Themes Films about films
Actors Mikhail Kaufman
Roles Writer
Rating82%
Une journée de la vie quotidienne à Odessa: un opérateur filme, une monteuse visionne ses images, des spectateurs regardent le film qui est fait.
A Sixth Part of the World (1926)
, 1h13Directed by Dziga Vertov
Origin Russie
Genres Documentary
Themes Politique, Political films
Roles Writer
Rating71%
Vertov starts by showing us, with intertitles in giant Cyrillic characters, what he sees (Вижу) about the capitalist West with its foxtrot and black minstrels, and then switches his attention to the audience (Вы) and then the individual viewer (Ты). In one self-reflexive moment, Vertov even shows cinema-goers watching an earlier piece of the film (‘And you sitting in the audience’). He takes us on a tour of the vital importance of agricultural production, which generates export revenue (shot of the ship’s nameplate ‘Greenwich’) so that Russia can buy machines to build more machines (shots of a milling machine). This gives him the pretext to take us on a Cook’s tour of the extremities of the Soviet Union: we see the icebreaker Lenin (amazing shot downwards from above the prow) delivering new dogs to the Samoyeds on Novaya Zemlya, and their being invited on board to listen to a gramophone recording of the great man himself. We go to Bukhara where one of the mosques is looking very dingy and crumbled, and to Leningrad where the trams run down the middle of broad empty boulevard as a horse-drawn carriage turns out. We see a Kirghiz with a giant eagle perched on his arm, a bear encircled by yapping dogs, a fox caught in a trap and another one that is a child’s pet, guillemots, gulls, a man shooting a sable in the top of a pine tree, a pine marten, sheep being dragged into the sea for a wash and other sheep being obliged to jump into a stream for the same purpose - the intertitles are surreal: (“You – whether you are washing your sheep in the sea (film) or whether you are washing your sheep in the river (film)…”, We see trappers bringing their furs to the Госторг (Gostorg) trading post in exchange for manufactured goods, everyone contributing to the national economy. Ironically, the furs are destined for the Leipzig fair (ярмаркт). In an amazing stop-frame sequence, rows of oranges align themselves in a packing box, wadges of packing material shuffle along and jump on top of them, and then the lids close (you can just see the line pulling one of the sides). We see coke being quenched also, as well as electricity pylons and insulators, and the village electricity co-op. We see sturgeon being hoiked out of tanks to make caviar. We see barrels of butter – 'it is yours!' We see wheat being threshed, linen being spun and cotton being ginned. We see the country being modernised, although there are still some people who trust in Mohammed (film) or Christ (a man telling his rosary) or Buddha (film) and we are shown a Siberian shaman looking remarkably like a North American Indian, and even a reindeer being slaughtered (by axe blows to the neck) as a sacrifice. We see crowds of women in full-face veils, but also a modernising country as a woman lifts her veil. And we see some tundra-dwellers eating raw reindeer meat.
Editor
Three Songs About Lenin (1934)
, 59minutesDirected by Dziga Vertov
Origin Russie
Genres Documentary
Roles Editor
Rating64%
La narration est faite par cartons qui prennent tout l'écran dont les phrases sont courtes et directes, qui se manifestent environ toutes les 5 minutes au long du film de manière à tenir le spectateur attentif.
Man with a Movie Camera (1929)
, 1h20Directed by Dziga Vertov
Origin Russie
Genres Drama, Documentary
Themes Films about films
Actors Mikhail Kaufman
Roles Editor
Rating82%
Une journée de la vie quotidienne à Odessa: un opérateur filme, une monteuse visionne ses images, des spectateurs regardent le film qui est fait.
A Sixth Part of the World (1926)
, 1h13Directed by Dziga Vertov
Origin Russie
Genres Documentary
Themes Politique, Political films
Roles Editor
Rating71%
Vertov starts by showing us, with intertitles in giant Cyrillic characters, what he sees (Вижу) about the capitalist West with its foxtrot and black minstrels, and then switches his attention to the audience (Вы) and then the individual viewer (Ты). In one self-reflexive moment, Vertov even shows cinema-goers watching an earlier piece of the film (‘And you sitting in the audience’). He takes us on a tour of the vital importance of agricultural production, which generates export revenue (shot of the ship’s nameplate ‘Greenwich’) so that Russia can buy machines to build more machines (shots of a milling machine). This gives him the pretext to take us on a Cook’s tour of the extremities of the Soviet Union: we see the icebreaker Lenin (amazing shot downwards from above the prow) delivering new dogs to the Samoyeds on Novaya Zemlya, and their being invited on board to listen to a gramophone recording of the great man himself. We go to Bukhara where one of the mosques is looking very dingy and crumbled, and to Leningrad where the trams run down the middle of broad empty boulevard as a horse-drawn carriage turns out. We see a Kirghiz with a giant eagle perched on his arm, a bear encircled by yapping dogs, a fox caught in a trap and another one that is a child’s pet, guillemots, gulls, a man shooting a sable in the top of a pine tree, a pine marten, sheep being dragged into the sea for a wash and other sheep being obliged to jump into a stream for the same purpose - the intertitles are surreal: (“You – whether you are washing your sheep in the sea (film) or whether you are washing your sheep in the river (film)…”, We see trappers bringing their furs to the Госторг (Gostorg) trading post in exchange for manufactured goods, everyone contributing to the national economy. Ironically, the furs are destined for the Leipzig fair (ярмаркт). In an amazing stop-frame sequence, rows of oranges align themselves in a packing box, wadges of packing material shuffle along and jump on top of them, and then the lids close (you can just see the line pulling one of the sides). We see coke being quenched also, as well as electricity pylons and insulators, and the village electricity co-op. We see sturgeon being hoiked out of tanks to make caviar. We see barrels of butter – 'it is yours!' We see wheat being threshed, linen being spun and cotton being ginned. We see the country being modernised, although there are still some people who trust in Mohammed (film) or Christ (a man telling his rosary) or Buddha (film) and we are shown a Siberian shaman looking remarkably like a North American Indian, and even a reindeer being slaughtered (by axe blows to the neck) as a sacrifice. We see crowds of women in full-face veils, but also a modernising country as a woman lifts her veil. And we see some tundra-dwellers eating raw reindeer meat.