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Directed by: Dziga Vertov Cinematographer: Mikhail Kaufman Editor: Yelizaveta Svilova Editing Techniques Superimposition/ double exposure Stop Motion Split screen Editing Freeze frames - still vs moving Dissolas Slow Motion/ Fast Motion Themes Rotation - cyclical imagery - Life Cycle Industry + technology Movement Propaganda Constructivism Montage Abstraction Modernism Meta -  (of a creative work) referring to itself or to the conventions of its genre; self-referential. Notes:  Introductory sequence provides a long build up. Bells can be heard in the background, to represent hardwork. Beginning, chairs falling without any physical help represents inevitable industrial change, stating that it does not need a push from people to change society.  5 mins - A series of images showing a state of life where people of economical stability living side by side with econimically unstable communities.  9 mins - Train represented as mechanical be

Vertov was a constructivist. For him, montage was part of the selection process. The combination of shots would affect the the audience, making them aware. He founded the experimental group Kino eye together with his wide Elisaveta Svilova (co-editor) and his brother Mikhail Kaufman (cameraman). They felt the task of the soviet film was to document reality 'to reveal truth' and were opposed to the fiction film that depended on artifice 'the ordinary fiction film acts like a cigar or cigarette on a smoker. Intoxicated by the cine-nicotine...' Man with the movie camera Dziga Vertov is described by S.M Eisentien as a 'film hooligan' producing 'unmotivated camera mischief'. He made a Man with a movie camera as a 'visual symphony', a self-reflexive film about making of the film. As a self proclaimed 'experiment in the cinematic communication of visible events' it is an exhilarating dynamic, collective experience about the life and rhythm