Selected Courses on Digital Art-UOWM

11 Δεκεμβρίου 2012

“Man with a Movie Camera”

Filed under: Notes — admin @ 18:08
“Man with a Movie Camera” is the fourth album by “The Cinematic Orchestra”. It is the soundtrack to a re-released version of the (then ground-breaking) 1929 silent documentary film, “Man with a Movie Camera” from Russian director Dziga Vertov. VUFKU 1929


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Man with a Movie Camera (RussianЧеловек с киноаппаратомChelovek s kinopparatom — sometimes called The Man with the Movie Camera,The Man with a CameraThe Man With the Kinocamera, or Living Russia[1]) is an experimental 1929 silent documentary film, with no story and no actors,[2] by Russian director Dziga Vertov, edited by his wife Elizaveta Svilova.
Vertov’s feature film, produced by the Ukrainian film studio VUFKU, presents urban life in Odessa and other Soviet cities. From dawn to dusk Soviet citizens are shown at work and at play, and interacting with the machinery of modern life. To the extent that it can be said to have “characters,” they are the cameramen of the title, the film editor, and the modern Soviet Union they discover and present in the film.
This film is famous for the range of cinematic techniques Vertov invents, deploys or develops, such as double exposurefast motionslow motion,freeze framesjump cutssplit screensDutch angles, extreme close-upstracking shots, footage played backwards, stop motion animations and a self-reflexive style (at one point it features a split screen tracking shot; the sides have opposite Dutch angles).
In the 2012 Sight and Sound poll, film critics voted Man with a Movie Camera the 8th best film ever made.[3]




Opening shot

The film has an unabashedly avant-garde style, and emphasizes that film can go anywhere. For instance, the film uses such scenes as superimposing a shot of a cameraman setting up his camera atop a second, mountainous camera, superimposing a cameraman inside a beer glass, filming a woman getting out of bed and getting dressed, even filming a woman giving birth, and the baby being taken away to be bathed.
Vertov was one of the first to be able to find a mid-ground between a narrative media and a database form of media. He shot all the scenes separately, having no intention of making this film into a regular movie with a storyline. Instead, he took all the random clips and put it in a database, which Svilova later edited[citation needed]. The narrative part of this process was her job. She had to go into that random pool of clips that Vertov filmed, edit it, and put it in some kind of order. Vertov’s purpose of all this was to break the mold of a linear film that the world was used to seeing in those days[citation needed].
Vertov’s message about the prevalence and unobtrusiveness of filming was not yet true—cameras might have been able to go anywhere, but not without being noticed; they were too large to be hidden easily, and too noisy to remain hidden anyway. To get footage using a hidden camera, Vertov and his brother Mikhail Kaufman (the film’s co-author) had to distract the subject with something else even louder than the camera filming them[citation needed].
The film also features a few obvious stagings such as the scene of a woman getting out of bed and getting dressed and the shot of chess pieces being swept to the center of the board (a shot spliced in backwards so the pieces expand outward and stand in position). The film was criticized for both the stagings and the stark experimentation, possibly as a result of its director’s frequent assailing of fiction film as a new “opiate of the masses.[citation needed]

[edit]Vertov’s intentions

In this shot, Mikhail Kaufman acts as a cameraman risking his life in search of the best shot

Vertov — born David Abelevich Kaufman — was an early pioneer in documentary film-making during the late 1920s. He belonged to a movement of filmmakers known as the kinoks, or kino-oki (kino-eyes). Vertov, along with other kino artists declared it their mission to abolish all non-documentary styles of film-making. This radical approach to movie making led to a slight dismantling of film industry: the very field in which they were working. Most of Vertov’s films were highly controversial, and the kinoc movement was despised by many filmmakers of the time. Vertov’s crowning achievement, Man with a Movie Camera, was his response to critics who rejected his previous film, One-Sixth Part of the World. Critics declared that Vertov’s overuse of “intertitles” was inconsistent with the film-making style the ‘kinoks’ subscribed to[citation needed].
Working within that context, Vertov dealt with much fear in anticipation of the film’s release. He requested a warning to be printed in Soviet centralCommunist newspaper, Pravda, which spoke directly of the film’s experimental, controversial nature. Vertov was worried that the film would be either destroyed or ignored by the public eye[citation needed]. Upon the official release of Man with a Movie Camera, Vertov issued a statement at the beginning of the film, which read:
“The film Man with a Movie Camera represents
Of visual phenomena
(a film without intertitles)
(a film without a scenario)
(a film without actors, without sets, etc.)
This new experimentation work by Kino-Eye is directed towards the creation of an authentically international absolute language of cinema – ABSOLUTE KINOGRAPHY – on the basis of its complete separation from the language of theatre and literature.”
This manifesto echoes an earlier one that Vertov wrote in 1922, in which he disavowed popular films he felt were indebted to literature and theater.[4]

[edit]Stylistic aspects

Poster by Stenberg brothers (1929)

Working within a Marxist ideology, Vertov strove to create a futuristic city that would serve as a commentary on existing ideals in the Soviet world. This artificial city’s purpose was to awaken the Soviet citizen through truth and to ultimately bring about understanding and action. The kino’s aesthetic shined through in his portrayal of electrification, industrialization, and the achievements of workers through hard labour. This could also be viewed as early modernism in film.
Some have mistakenly stated that many visual ideas, such as the quick editing, the close-ups of machinery, the store window displays, even the shots of a typewriter keyboard are borrowed from Walter Ruttmann‘s Berlin: Symphony of a Great City (1927), which predates Man with a Movie Camera by two years, but as Vertov wrote to the German press in 1929,[5] these techniques and images had been developed and employed by him in his Kino-Pravda newsreels and documentaries for the last ten years, all of which predate Berlin. Vertov’s pioneering cinematic concepts actually inspired other abstract films by Ruttmann and others.
Because of doubts before screening, and great anticipation from Vertov’s pre-screening statements, the film gained great interest before even shown[citation needed]. Once the film was finally screened, the public either embraced or dismissed Vertov’s stylistic choices. The pace of the film’s editing—more than four times faster than a typical 1929 feature, with approximately 1,775 separate shots—perturbed some viewers, including The New York Times reviewer Mordaunt Hall:
“The producer, Dziga Vertof, does not take into consideration the fact that the human eye fixes for a certain space of time that which holds the attention.”[6]
On a technical note, Man with a Movie Camera’s usage of double exposure and seemingly ‘hidden’ cameras made the movie come across as a very surreal montage rather than a linear motion picture. Many of the scenes in the film contain people, which change size or appear underneath other objects (double exposure). Because of these aspects, the movie’s overall speed is fast moving and enthralling. The sequences and close-ups capture emotional qualities, which could not be fully portrayed through the use of words. The film’s lack of ‘actors’ and ‘sets’ makes for a unique view of the everyday world; one “directed toward the creation of a genuine, international, purely cinematic language, entirely distinct from the language of theatre and literature.”[citation needed]


Man with a Movie Camera, depicting 24 hours in the life of a Soviet city, was actually filmed over a period of about 3 years. Three Soviet cities — MoscowKiev and Odessa — were the shooting locations.


The film, originally released in 1929, was silent, and accompanied in theaters with live music. It has since been released a number of times with different soundtracks:
  • 1995 – New composition was performed by the Alloy Orchestra of Cambridge, Massachusetts, based on notes left by Vertov.[7] It incorporates sound effects such as sirens, babies crying, crowd noise, etc. Readily available on several different DVD versions.[8]
  • 1996 – Norwegian composer Geir Jenssen (aka Biosphere) was commissioned by the Tromsø International Film Festival to write a new soundtrack for the movie, using the director’s written instructions for the original accompanying piano player. Jenssen wrote half of the soundtrack, turning the other half to Per Martinsen (aka Mental Overdrive). It was used for the Norwegian version Mannen med filmkameraet at the 1996 TIFF [1][2]. Scored movie not available after the festival. The soundtrack was released in 2001 on Substrata 2.
  • 1999 – In the Nursery version,[9] made for the Bradford International Film Festival. Currently available on a few DVD versions, often paired with the Alloy Orchestra score as an alternate soundtrack.
  • 2001 – Steve Jansen and Claudio Chianura recorded a live soundtrack for a showing of the film at the Palazzina Liberty, in Milan on 11 December 1999. This was subsequently released on CD as the album Kinoapparatom in 2001.
  • 2002 – A version was released with a soundtrack composed by Jason Swinscoe and performed by the British jazz and electronic outfit The Cinematic Orchestra (see Man with a Movie Camera (The Cinematic Orchestra album)). Originally made for the Porto 2000 Film Festival. It was also released on DVD in limited numbers by Ninja Tune. This DVD edition is currently very much in demand and goes for prices higher than the other DVD versions.
  • 2002 – A score for the film by Michael Nyman was premiered performed by the Michael Nyman Band on May 17, 2002 at London’s Royal Festival Hall. A British Film Institute DVD of the film was released with Nyman’s score. This score is readily available on several different DVD editions. It has not been issued on CD, but some of the score is reworked from material Nyman wrote for the Sega Saturn video game Enemy Zero, which had a limited CD release, and Nyman performs a brief excerpt, “Odessa Beach” on his album, The Piano Sings.
  • 2003 June – Boston-based multi-theremin ensemble The Lothars performed a semi-improvised soundtrack accompanying a screening of the film at the Coolidge Corner Theatre in Brookline, Massachusetts. They repeated their performance three years later, in December, 2006 at the Galapagos Art Space in Brooklyn, New York.
  • 2006 Absolut Medien, Berlin released a DVD with the 3soundtracks from Michael Nyman, In the nursery, and a new soundtrack from Werner Cee
  • 2007 November – France based group Art Zoyd presented a scenic version of the film with addition video by artist Cecile Babiole. A studio recording of the soundtrack was released on CD in 2012: Eyecatcher/Man with a Movie Camera.
  • 2008 – Norwegian electronic jazz trio Halt the Flux performed their interpretation of the soundtrack for Man with a Movie Camera[10] in Bergen International Film Festival. The trio consists of Anders Wasserfall, Jørgen Vaage & Bjørnar Thyholdt.
  • 2008 October – London based Cinematic Orchestra undertook a show featuring a screening of Vertov’s film, which preceded the re-issue of the Man With A Movie Camera DVD, in November.
  • 2008 November – San Francisco Bay Area based Tricks of the Light Orchestra accompanied a screening of the film on Sunday, November 30 at Brainwash Cafe in San Francisco.
  • 2009 July; Mexican composer Alex Otaola performed live a new soundtrack for the film at Mexico’s National Cinematheque. Aided by the ‘Ensamble de Cámara/Acción’ (Adrian Terrazas-bass clarinet, Daniel Zlotnik-clarinet/flute, María Emilia Martínez-flute, Luca Ortega-flute/piano, Carlos Maldonado-upright, Jose María Arreola-drums/percussion), which consists of members from The Mars Volta, Los Dorados, San Pascualito Rey, Klezmerson and LabA
  • 2009 The New York City based Voxare String Quartet performed music by Soviet Modernist composers to accompany a screening of the film.
  • 2010 August – Irish instrumental post-rock band 3epkano accompanied a screening of the film with an original live soundtrack in Fitzwilliam Square in Dublin [11]
  • 2010 July – Ukrainian guitarist and composer Vitaliy Tkachuk with his quartet performed his own soundtrack for the film at a first Ukrainian silent cinema festival “Mute nights” in Odessa, the city where this movie was made.[12]
  • 2011: The French pianist Yann Le Long, the violoncellist Philippe Cusson and the percussionist Stéphane Grimalt performed for the first time the soundtrack written by Le Long for the film (20 May 2011) at the Centre Culturel du Vieux CouventMuzillac, France.


  1. ^ List of alternate titles for “Man with a Movie Camera”
  2. ^ Dziga Vertov. On Kinopravda. 1924, and The Man with the Movie Camera. 1928, in Annette Michelson ed. Kevin O’Brien tr. Kino-Eye : The Writings of Dziga Vertov, University of California Press, 1995.
  3. ^ “Sight & Sound Revises Best-Films-Ever Lists”studiodaily. 1 August 2012. Retrieved 1 August 2012.
  4. ^ “Man With a Movie Camera” by Grant Tracey
  5. ^ Dziga Vertov. Letter from Berlin page 101, in Annette Michelson ed. Kevin O’Brien tr. Kino-Eye : The Writings of Dziga Vertov, University of California Press, 1995.
  6. ^ Review by Roger Ebert, Chicago Sun Times, July 1, 2009
  7. ^ ALLOY ORCHESTRA Current Touring Repertoire
  8. ^ Man with a Movie Camera (Alloy Orchestra), 01:06:40, 1929 on YouTube
  9. ^ “Man with a Movie Camera” score by In the Nursery
  10. ^ Halt the Flux clip from “A Man With A Movie Camera”
  11. ^ “3epkano Cinema in The Park
  12. ^ Soundtrack by Vitaliy Tkachuk

[edit]Further reading

  • Annette Michelson ed. Kevin O’Brien tr. Kino-Eye : The Writings of Dziga Vertov, University of California Press, 1995.
  • Feldman, Seth R. Dziga Vertov. A Guide to References and Resources. Boston: G. K. Hall, 1979.
  • Devaux, Frederique. L’Homme et la camera: de Dziga Vertov. CrisnÈe, Belgique: Editions Yellow Now, 1990.
  • Nowell-Smith, Geoffrey. The Oxford history of World Cinema. Oxford; New York: Oxford University Press, 1996.
  • Tsivian, Yuri. Lines of Resistance: Dziga Vertov and the Twenties. edited and with an introduction by Yuri Tsivian; Russian texts translated by Julian Graffy; filmographic and biographical research, Aleksandr Deriabin; co-researchers, Oksana Sarkisova, Sarah Keller, Theresa Scandiffio. Gemona, Udine : Le Giornate del cinema muto, 2004.
  • Manovich, Lev. “Database as a Symbolic Form”. Cambridge: MIT Press, 2001.

[edit]External links

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