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	Dziga Vertov - Wikipedia, the free encyclopedia
		Vertov's brother Boris Kaufman was a noted cinematographer who worked for directors such as Elia Kazan and Sidney Lumet; his other brother, Mikhail Kaufman, worked as Vertov's cinematographer until he became a documentarian in his own right.
		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.
		Vertov's independent, explorative air in filmmaking is carried on as a strong inspiration in aspiring filmmakers and directors.
	en.wikipedia.org /wiki/Dziga_Vertov (1369 words)

	::::::::::::www.25hrs.org<<<<<<<<
		Indeed, Vertov's texts are largely manifestos: their language is blunt, direct and even crude and they invariably contain sharply formulated attacks on the state of cinema shot through with the political messages of radical orthodoxy of the time.
		Vertov's use of these cuts is remarkable for the elegance of the motion and the economy of means with which he both fools the audience and draws attention to artifice.
		Again, Vertov both plays with the deconstructive power of showing us the means by which the film images are produced and celebrates the magical power of the film maker as the small celluloid strip on the editing table, a representation of the film-object in its raw state, suddenly fills the screen, alive with motion.
	www.25hrs.org /vertov.htm (4808 words)

	Dziga Vertov (Site not responding. Last check: 2007-11-07)
		The eldest of three sons, Denis Kaufman, later known as Dziga Vertov was born in 1896 in the Polish territories of the Czarist empire.
		Vertov advocated "life as it is "Contrary to his ideal, Russian audiences loved fiction so much that American and European films were always in high demand.Vertov noted that the sight of a news camera would c cause many bystanders to pretend they were characters in a Western.
		Vertov said that going back on his word was not a part of his physical make up; his type of documentary could not be forced to comply with the preproduction bureaucracy that was required by government censors.
	nitrogen.nmr.hawaii.edu /Sleepless/Almanac16.html (2065 words)

	Dziga Vertov Biographical Notes (Site not responding. Last check: 2007-11-07)
		Dziga Vertov's life is mirrored in many of his films because he is one of the victims of Eastern Europe's several changes of regimes and war during the early 20th century.
		When Vertov was older he used a pseudonym for his writings and for his films ("Dziga Vertov", 1987).
		Vertov wanted his audience to be able to "feel the world" because he wanted his audience to see what was really going on in Russia (Michelson, 1984).
	people.wcsu.edu /mccarneyh/fva/V/DVertov_bio.html (648 words)

	I Yam What I Yam (Site not responding. Last check: 2007-11-07)
		Vertov was interested in the politics of cinema and how the monocular optics of a camera might view the world differently than the lens in a human eye.
		Dziga is a Ukranian word referring to a spinning top and Vertov is a Russian term for "spin..." All references to speed, modernism and a metaphoric salute to the Russian Cultural Revolution.
		Many of Dziga Vertov's ideas and aspirations came together in 1929 as he, and what he referred to as his "truth machine" (his camera), produced a visionary portrait of Russia (footage was shot in Moscow, Kiev, and Odessa) that continues to impact cinematic practice to this day.
	home.earthlink.net /~mosnyder/id29.html (1689 words)

	"Man With Movie Camera" 1918
		Dziga Vertov was 21, Lev Kuleshov was 18, Vsevold I. Pudovkin was 24, Sergi Eisenstein was 19, Boris Barnet was 15, and Alexander Petrovich Dovzhenko was 23.
		Dziga Vertov, born Denis Arkadievitch Kaufman (1896-1954), was the son of Jewish intellectuals who moved to Moscow to flee the invading German armies during World War I. He trained as a musician and neurologist, and he had studied at the Moscow Psycho-neurological Institute.
		Vertov was the founder of Soviet documentary, and he was an enthusiastic opponent of the theatre, staged events and fiction in film.
	www.silentsaregolden.com /DeBartoloreviews/rdbmanwithmoviecamera.html (1179 words)

	Dziga Vertov Characteristics (Site not responding. Last check: 2007-11-07)
		Dziga Vertov created his own ideas for his films not only from what he learned through training or even through other artists, but from his own experience as well.
		Vertov's films were based on two characteristics: the images portraying Soviet reality, and the way he edited these pictures together to create an effect.
		Vertov said there was a reason for the way he edited his films.
	people.wcsu.edu /mccarneyh/fva/V/DVertov_char.html (505 words)

	Untitled Document
		Dziga Vertov was born Denis Kaufman, the eldest of three sons of Jewish intellectuals from Bialystok, in the Polish territories of the Czarist empire.
		Vertov sought to exhort his audience, especially to make them aware of social ills, but he invited their participation without explaining or interpreting events for them as did conventional newsreels - even when his subject is a trial of social revolutionaries.
		Vertov was thus the beneficiary also of the campaign waged by John Grierson in Britain for a government supported documentary film unit to publicize the humanity and professional skills of working men and women.
	www.bu.edu /jeremymb/paper_vertov.htm (8734 words)

	Man with a Movie Camera (Site not responding. Last check: 2007-11-07)
		Dziga Vertov's The Man with a Movie Camera is a compelling and delightful exploration of the life of a cameraman in the Soviet Union of the 1920s.
		Vertov was attempting to make a universal film, one which relied exclusively on film language to get its message across.
		Vertov equates the camera with an eye, and where that eye is directed is ultimately controlled by Vertov.
	www.nottingham.ac.uk /film/journal/filmrev/man-with-a-movie-camera.htm (1452 words)

	Documentary at Boston University
		In a lengthy introduction, in the arcane language deemed appropriate for this kind of work, Michelson elevated Vertov to a pitch of unrivaled intellectual and artistic grandeur; his destiny, according to her, was to have been the Trotsky, but alas not the Lenin, of cinema.
		Vertov's main pitch in the polemical battles he waged against his colleagues who were making fiction films was a remark attributed to Lenin by Lunacharsky, the Bolshevik commissar of education, in which Lenin appeared to favor newsreel propaganda as a means of indoctrinating the masses.
		Vertov's idea, which he claimed was Lenin's also, for what should constitute these "factual" films was "the screen newspaper," the "political newsreel," the "propagandistic newsreel."[16] Vertov called this propagandistic newsreel Kinopravda, a movie version of the Party paper, Pravda.
	www.bu.edu /jeremymb/papers/paper-v3.htm (508 words)

	ArtandCulture Artist: Dziga Vertov (Site not responding. Last check: 2007-11-07)
		Vertov loathed these so-called fiction films and insisted that the future of cinema depended on reporting the truth.
		Vertov responded that he sought "the purest possible essence of truth," not plodding verisimilitude.
		Vertov's remaining years on the outskirts of Soviet cinema did not taint his reputation or diminish his influence on the international community.
	www.artandculture.com /cgi-bin/WebObjects/ACLive.woa/wa/artist?id=1284 (743 words)

	Malaspina Great Books - Dziga Vertov (1896-1954)
		Vertov was born Denis Abramovich Kaufman to Jewish intellectuals living in Bialystok--at the time a Russian territory--and Russified his Jewish patronymic to Arkadievich in his youth.
		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.
		Vertov lost his job at Sovkino in January 1927,; possibly as a result of criticizing a film which effectively preaches the Communist party line, while at the same time producing films which effectively challenge or subvert it.
	www.malaspina.org /home.asp?topic=./search/details&lastpage=./search/results&ID=992 (1313 words)

	[No title]
		In examining the influences that helped to develop Vertov’s style of filmmaking, the most influential experiences to examine relates to his associations with the Moscow and Petrograd avant garde movements and his early experiments with sound.
		According to Vertov, “the camera is an instrument much like the human eye, that is best used to explore the actual happenings of real life” (Britannica) Vertov would not be able to fully realize his artistic vision while at the Moscow Cinema Committee.
		Dziga Vertov’s ground breaking work with sound and film has provided countless inspiration to filmmakers and artists alike.
	www.unc.edu /~jimlee/MattSumrowVertov2.htm (3186 words)

	Images - Man With a Movie Camera
		Later, Vertov reveals more mechanical reality as he juxtaposes a woman getting her hair washed with another washing clothes, and then shows a barber shaving a man, and sharpening a razor's edge.
		As Vertov revealed the joys of work, the rhythm of workers and machines, he also felt that filmmaking (as a largely technological medium) was also a component of that mechanical reality.
		Vertov fell into disfavor with their regime and this film and others were accused of formalist error, of placing aesthetics ahead of ideological commitment.
	www.imagesjournal.com /issue05/reviews/vertov.htm (941 words)

	Vertov
		Dziga Vertov was born as Denis Abramovich (later changed to Arkadievich) Kaufman to a Jewish book-dealer's family.
		In so doing Vertov was at least 30 years ahead of his time: his ideas of the self-reflective cinema, of the viewer identifying himself with the filmmaking process, would reemerge only at the end of the fifties in the work of Chris Marker, Jean-Luc Godard, Michael Snow and Stan Brakhage.
		Vertov's next film, THREE SONGS OF LENIN (1934), made in commemoration of the tenth anniversary of Lenin's death, had to wait six months for its official release, allegedly because it had failed to emphasize the "important role" of Stalin in the Russian Revolution.
	cours.cegep-st-jerome.qc.ca /511-411-p.l/vertov.htm (1349 words)

	Chelovek s kino-apparatom (1929) (Site not responding. Last check: 2007-11-07)
		Vertov alleged that the machine would be the corner stone for the progress of industrialization.
		Vertov did not use a script for the beginning of the film because he did not want the audience to believe it was fictional.
		Vertov's film is one that I will need to see again to have a full appreciation of his talent.
	www.imdb.com /title/tt0019760 (599 words)

	Domain of Culture - Cultural Events (Site not responding. Last check: 2007-11-07)
		Although Vertov primarily wanted to explore the technological possibilities of cinematography and the visual medium, while Bunuel focused on shocking audiences with representations of dreams, they both converge with cinematic expression that forces audiences to form their own meanings from the wordless imagery.
		Vertov strives to create a "truly international, absolute language of cinema based on its total separation from the language of theater and literature." He succeeds remarkably, despite having an artistic fallout with his cinematographer brother (Mikhail Kaufman), who would never work with him again.
		Vertov disdains fictional pieces, and he goes to great lengths to record his subjects without having the camera influence the scene, using a telephoto lens or a hidden camera to capture people in their natural state.
	www.cultureguide.gr /events/details.jsp?Event_id=62796&catA=3 (844 words)

	MoMA.org \| The Collection \| Dziga Vertov. The Man with the Movie Camera (Chelovek S. Kino-apparatom). 1929
		At one moment, Vertov presents a man riding a motorcycle, and then, surprisingly, shows us shots of the cameraman filming the motorcycle, then shots of the editor editing these shots.
		Vertov, whose name is a pseudonym meaning "spinning top," stated: "We proclaim the old films, based on romance, theatrical films and the like, to be.
		Like others of his generation, Vertov wanted to replace the human eye with the kinoki, an objective cinematic eye, in order to help build a new proletarian society.
	www.moma.org /collection/browse_results.php?object_id=89505 (268 words)

	The Man With The Movie Camera (1929) : Directed by Dziga Vertov, reviewed by Nick Burton (Site not responding. Last check: 2007-11-07)
		Vertov’s most famous film, The Man With The Movie Camera, is the ultimate example of his radical documentary style, and while he made the film with the Stalin regime overseeing the project, there is something very subversive at work here.
		There are moments that may have seemed experimental in Vertov’s day - the use of split screen, film printed backwards, film sped up, some stop-motion animation - but it’s all done so expertly and so entertainingly that one is almost never aware of the film’s experimental nature.
		Vertov’s style seems incredibly modern now, not only as the precursor to the essay-style films of Jean-Luc Godard (who once started a film-making group called the Dziga Vertov group) but to MTV.
	www.pifmagazine.com /SID/620 (560 words)

	Chelovek s kinoapparatom (The Man with a Movie Camera)
		Vertov's beliefs seemed a bit contradictory: he proclaimed the glory of the camera as if it was unbiased scientific collector of reality but then asserted its method of deciphering the world was true Marxist despite the fact that his calling attention to the filmic aspects exposed the materialism of the medium.
		Vertov more or less believed was that the line between documentary and fiction was drawn at whether or not the people knew they were being filmed.
		Vertov and Mikhail Kaufman (their younger brother Boris was the brilliant cinematographer behind the films of Jean Vigo and On The Waterfront) lay out all the basics for filming athletic competition.
	www.metalasylum.com /ragingbull/movies/manwithamoviecamera.html (2031 words)

	Dziga Vertov
		Dziga Vertov, of course, considered his films to be documentaries, records of actuality, but all his work reflected his very personal, highly poetic vision of Soviet 'reality,' a vision he maintained throughout his life, long after the dustbin of soviet history had claimed him, too.
		Vertov's chance to be the first amongst equals had been lost in one sense, but his dicta for a new 'direct cinema' had not.
		Vertov's next film, Three Songs of Lenin (1934), made in commemoration of the tenth anniversary of Lenin's death, had to wait six months for its official release and in the end, extra footage was added.
	www.sensesofcinema.com /contents/directors/03/vertov.html (2010 words)

	Dziga Vertov (Site not responding. Last check: 2007-11-07)
		Dziga Vertov, having been the clever manipulator of time that he was, can be seen as one of Beckett’s more subtle predecessors in the arena of structure.
		A Polish documentary filmmaker, Vertov’s innovations in film proved to be of the most influential among the early pioneers.
		In The Man With a Movie Camera (1929), another documentary, Vertov films not only Russian street life (the purported subject of the film) but also the filming of the street life, the editing of the footage, and an audience’s beholding of the film at the cinema.
	people.bu.edu /jkassen/Vertov.html (286 words)

	The Soviet Government and Dziga Vertov: Too Close for Comfort, explores the relationship existing between the Soviet ...
		The Soviet Government and Dziga Vertov: Too Close for Comfort, explores the relationship existing between the Soviet era film producer and the Soviet government.
		Vertov also was not highly regarded by his contemporaries, they considered his work to be a medium of futurism and held that his complex process of montage created facts and presented them as truth.
		Vertov’s films are remarkable in that they are simultaneously full of Marxist propaganda and yet distinctly lacking in Bolshevik propaganda.
	www.duke.edu /~teb7/abstract.html (498 words)

	OTHERZINE : issue 8
		Vertov believed so strongly in his country that as a young man he changed his name from Denis Kaufman.
		That is, "Dziga" is a Ukranian word referring to a spinning top and "Vertov" is a Russian term for "spin..." – all references to speed, modernism, and a metaphoric salute to the Russian Cultural Revolution.
		Boris Kaufman (Dziga's brother) was the cinematographer and the man behind the "truth machine" during the filming of The Man With The Movie Camera.
	www.othercinema.com /otherzine/index.php?issueid=2&articleid=21 (1779 words)

	Amazon.com: Man With the Movie Camera: DVD: Dziga Vertov (Site not responding. Last check: 2007-11-07)
		Described by director Dziga Vertov as an experiment in the language of pure cinema, "The Man With the Movie Camera" is perhaps the most dazzling and sophisticated, not only of Soviet, but of world silent cinema.
		Vertov's _Man with a Movie Camera_ is not only the hallmark of Russian Constructivist film but one of the greatest films ever made, no hyperbole intended.
		Indeed, Vertov stated that film should be a medium that stands alone, not muddled by the addition of psychology, romance, or music.
	www.amazon.com /exec/obidos/tg/detail/-/6305131104?v=glance (1762 words)

	Guardian Unlimited Books \| Review \| Universal pictures
		Vertov's hero is his cameraman, his brother Mikhail Kaufman; his wife and editor Elisaveta Svilova also appears in her editing room editing this film.
		Vertov was allied to the constructivists, who became the most vocal revolutionary artists in 1920s Russia.
		Vertov was the most Leninist of all the great Russian film-makers.
	books.guardian.co.uk /review/story/0,12084,1518426,00.html (1773 words)

	PDGV : News and events: Review: Man with the Movie Camera (Dziga Vertov, 1929, Russia Silent with title cards and score ...
		If the name Dziga Vertov is not on everyones lips its probably because his most famous film, Chelovek S Kinoapparatom (Man with the Movie Camera) was made in 1929, and most young people interested in film would probably come across it firstly in their Film Studies Courses.
		This is one film you would want to own, and in the absence of cinema releases (though I am sure that this would be on ACMIs list of treasures to add to their playlist from time to time) you will be able to buy this DVD as a Madman release some time in November.
		Vertovs aim was clearly to explore the medium and tell a story filmically.
	www.pdgv.com.au /news/2005-08-26_00.html (540 words)

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