Comparing Dziga Vertovs Film, Man with a Movie Camera and Run Lola Run

Comparing Dziga Vertovs Film, Man with a Movie Camera and egest Lola result The main and essential thing is the sensory exploration of the world through film. We therefore take as a point of departure the persona of the camera as a keno-eye, more perfect than the human eye, for the exploration of the chaos of visual phenomena that fills space. - Dziga Vertov , Manifesto The Council of Three (1923) The progressive theories and filmmaking techniques of Dziga Vertov revolutionized the way films are do today. Man With a Movie Camera (1929), a documentary that re impersonateed the peak of the Soviet avant-garde film movement in the twenties, displayed techniques in montage, inventive camera angles, rich imagery, but most importantly allowed him to express his theories of his writings of Kino-eye (the camera). The film has a very simple plot that describes an average day in Russia, yet the final pieces of this film emerge a complex and fast-paced production that excites the audience . Vertovs ability to use radical editing techniques with unconventional filming to present ordinary things has inspired many directors around the world. And still now modern avant-garde movies apply many of these same techniques to dramatize simple and complex stories. Vertov was mavin of the greatest innovators of Soviet cinema in the post WWI era. During this time, the freedom to make films was limited due to low stock of supply. Vertov and his colleagues had to be very creative and innovative if they were going produce anything at all. The Kuleshov whole caboodlehop, a workshop class at the Moscow Film School led by Lev Kuleshov included famous Soviet filmmakers like Vsevolod Pudovkin and Sergei Eisenstein, but excluded Vertov. This is significant to the ... ...ught to life these ideas on a new level in Run Lola Run, which glorifies the cameras results with movement in every frame. Run Lola Run feeds the kino-eye with collision, contrast, and conflicting scenes, which make the film a huge success in giving the audience a new type of story with suspense, comedy and drama. Works Cited Bordwell, David (1972a) Dziga Vertov An Introduction. In Film Comment 8,1, pp. 38-45 Denkin, H., Linguistic Models in Early Soviet Cinema. Cinema Journal XVII / 1, Fall 77 p.1-Lynton, Norbert, The Story of Modern Art, Oxford Phaidon squeeze Limited, 1980 Mast, Gerald, Kawin Bruce F., A Short History Of The Movies. Allyn & Bacon, 2000. Vertov, Dziga, Kino-eye The Writings of Dziga Vertov / edited with an introduction by Annette Michelson translated by Kevin OBrien. Berkeley, CA. University of California Press, c1984.