Dziga Vertov


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Dziga Vertov
David Abelevich Kaufman
Birthday
BirthplaceBiałystok, Russian Empire (now Poland)
Died
NationalitySoviet
Occupation
Film director, cinema theorist

Vertov, Dziga

 

(pseudonym of Denis Arkad’evich Kaufman). Born Dec. 21, 1895 (Jan. 2, 1896), in Belostok; died Feb. 12, 1954, in Moscow. Soviet film director and documentary film maker; one of the founders of documentary film making in the Soviet Union and the world.

During the first years of Soviet power, Vertov worked in the newsreel department of the Moscow Film Committee. He directed the work of photographers-reporters and, using material from the Civil War, made the films Anniversary of the Revolution (1919), The Agitation and Propaganda Train of the All-Russian Central Executive Committee (1921), and History of the Civil War (1922). Vertov founded the thematic newsreel series Kino-pravda (1922-25), in which he developed new newsreel filming techniques and for the first time applied principles of montage juxtaposition to documentaries. His best Kino-pravda effort was the production of The Lenin Kino-Pravda (no. 21).

Vertov published a number of theoretical articles and manifestos in which he explained the theoretical basis of his Kino-Eye method.

His main contribution was his innovative development of the documentary film as a pictorial social commentary. In the film Forward, Soviet! (1926), he used the techniques of montage juxtaposition to help create a documentary picture of Moscow when the city was recovering from ruin and famine. In One-sixth of the World (1926), he presented a poetic image of the Soviet motherland. In Enthusiasm (Donbas Symphony), his first talking movie (1930), Vertov used both visual and audio means to develop the theme of socialist construction. His film Three Songs About Lenin (1934) is the best work done in the Soviet pictorial social commentary film medium.

Vertov’s creative and theoretical legacy has had a major influence on the development of Soviet and foreign documentary films. He was awarded various medals and the Order of the Red Star.

WORKS

Stat’i, dnevniki, zamysly. Moscow, 1966.

REFERENCE

Abramov, N. P. Dziga Vertov. Moscow, 1962. (See bibliography and listing of films.)

N. P. ABRAMOV

References in periodicals archive ?
The film, directed by Dziga Vertov, pays homage to everyday life in the Soviet Union during the 20s.
Godard's interest in the cinema's ability to perfect human vision also aligns him with Dziga Vertov and the Kino Eye collective with whom he particularly identified in the late 60s.
The Soviet avant-garde filmmaker Dziga Vertov used a similarly discontinuous and accelerated pace of montage to depict (although in largely celebratory terms) modern cities in the 1920s.
Inspired by the anarchist-theater writer-director Armand Gatti, the brothers developed a project more activist than aesthetic--"We didn't think of ourselves as filmmakers," they have said--and set about, in a mission pitched somewhere between the Lumiere brothers' actualites and the work of such collectives as Jean-Luc Godard and Jean-Pierre Gorin's Dziga Vertov Group, to record the lives of working-class locals and "show them on Sundays in a garage or a cafe.
London, Aug 02 ( ANI ): 'Man with a Movie Camera' directed by Dziga Vertov has been declared as the greatest ever documentary in the inaugural Sight and Sound poll.
It is also a nod to pioneering Russian documentary filmmaker Dziga Vertov, the self-styled "man with the camera," whose Vertov Group set out to combine art and political activism in the 1960s in much the same way Abounaddara does today.
For instance commemoration of Bialystok born filmmaker Dziga Vertov due to his later work in the Soviet Union; restored inter-war monument of Kawelin the Dog, that has a name of well-known tsarist officer resulted in protests of the Russian minority).
In constructing the video, Kennelly was inspired by the politically charged silent-era montage of Aleksandr Dovzhenko, Dziga Vertov, and Sergei Eisenstein and the later impressionistic 1/4ulm and video works of Chris Marker and Jean-Luc Godard.
The authors cover in detail both the styles of early Soviet cinema (notably, constructivism and Soviet montage) as well as the major early Soviet directors, including Lev Kuleshov, Dziga Vertov, Esther Shub, V.
The latter's loss of language from a stroke triggers Howe's exploration of imagistic communication and her main focus falls on the European filmmakers Dziga Vertov, Andrei Tarkovsky, and Chris Marker.
While radical leftists called for a "puluo-jinou" (proletarian "kino" or "cinema") directly evoking the work of Soviet filmmakers like Dziga Vertov, the wider sphere of Shanghai filmmakers, critics, and magazines was equally enthusiastic about the possibilities of Soviet, Japanese and other radical international film movements (see Pang 41; Zhang 247-48).
Among the directors discussed are Dziga Vertov, Emile de Antonio, Barbara Hammer, Rosa von Praunheim, and Anand Patwardhan.