The man with the movie camera 1929
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The kino-eye in Dziga Vertov's Man With a Movie Camera.(©1997 Kino on Video. All rights reserved.) And foster he does. The Man With a Movie Camera is divided into nine orchestral-type movements, and several of them use rapid-fire editing, wild juxtapositions (e.g. blinking eyes with shutter blinds) and multiple exposures to mesh workers with machines in a simultaneity of reverence and celebration. Levers and wheels turn and workers synchronously turn with them. 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. The sequence ends with newspapers rifling along a printing press, and a young woman packing cigarettes, watching the machine's quick slap pressing, while smiling at her labor. 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. In the aforementioned sequence of a cigarette worker and her machine, Vertov also splices into the mise-en-scene his wife and editor, Yelizavela Svilova. As shoes are shined and a woman gets her hair cut and fingernails polished, an edit reveals Svilova rubbing emulsion off the film strip, suggesting that polishing the beauty of cinema is synchronous with the peoples' visit to the beauty salon. More importantly, Svilova's appearance stitched into another montage (a woman sews, fabric linked with thread, while Svilova edits, film threaded through a splicer) strongly suggests that filmmaking is workmanlike, the perfect analog to the worker's life. Vertov's camera finds mechanical imagery in the beauty salon.(©1997 Kino on Video All rights reserved.) Besides celebrating workers, machines, and filmmaking as constituting Soviet reality, Vertov uses kino-eye to.
Directed by Dziga Vertov Written by Dziga Vertov Music Michael.