Dziga Vertov’s Man with a Movie Camera is more than a guy randomly shooting happenings of everyday life. This piece is a true avant-garde film that attests to the style’s desire to break apart from the norm. Vertov pushed the boundaries of cinema at the time with this movie in many ways. For example, the piece contained absolutely no scripted action or even actors, unless you count the camera man. Also, this film works to establish film as a truly unique venue. As the opening subtitles of the piece state, Man with a Movie Camera sought to create “an authentically international language of cinema.” The O’Pray reading further expanded upon Vertov’s intention of standing apart from his companions by discussing Vertov’s idea of “perception as a revolutionary act.” Not only did Dziga Vertov step outside the boundaries of cinema in idealistic aspects, he also pushed the envelope with his style. This piece contained stylistic elements ranging from super-imposed images, like the one above, to stop motion techniques. Sound is another important factor in this film. While the version that we viewed contained a modern soundtrack, the original was a silent movie. I believe that the sound was an excellent addition because it helped the audience to better differentiate between scenes. Overall, Vertov’s investigation of Russian life in the late 1920s was a piece that I thoroughly enjoyed watching.
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