1. Dziga Vertov's filming practices and theories influenced the cinema verite style of documentary movie-making and the Dziga Vertov Group, a radical film-making cooperative which was active from 1968 to 1972.
30 Facts About Dziga Vertov
1. 2.
Dziga Vertov was a member of the Kinoks collective, with Elizaveta Svilova and Mikhail Kaufman.
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Dziga Vertov worked with Boris Kaufman and cinematographer Mikhail Kaufman on his most famous film Man with a Movie Camera.
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Dziga Vertov Russified his Jewish name and patronymic, David Abelevich, to Denis Arkadievich at some point after 1918.
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The Kaufmans soon settled in Petrograd, where Dziga Vertov began writing poetry, science fiction, and satire.
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Dziga Vertov eventually adopted the name "Dziga Vertov", which translates loosely from Ukrainian as 'spinning top'.
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Dziga Vertov is known for many early writings, mainly while still in school, that focus on the individual versus the perceptive nature of the camera lens, which he was known to call his "second eye".
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Dziga Vertov is known for quotes on perception, and its ineffability, in relation to the nature of qualia.
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Dziga Vertov began collaborating with Vertov, beginning as his editor but becoming assistant and co-director in subsequent films, such as Man with a Movie Camera, and Three Songs About Lenin.
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Dziga Vertov worked on the Kino-Nedelya series for three years, helping establish and run a film-car on Mikhail Kalinin's agit-train during the ongoing Russian Civil War between Communists and counterrevolutionaries.
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Some cars on the agit-trains were equipped with actors for live performances or printing presses; Dziga Vertov's had equipment to shoot, develop, edit, and project film.
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In 1919, Dziga Vertov compiled newsreel footage for his documentary Anniversary of the Revolution; he supervised the filming of his project The Battle for Tsaritsyn.
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In 1922, the year that Nanook of the North was released, Dziga Vertov started the Kino-Pravda series.
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Dziga Vertov responded to their criticisms with the assertion that the critics were hacks nipping "revolutionary effort" in the bud, and concluded an essay with a promise to "explode art's tower of Babel".
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Dziga Vertov lost his job at Sovkino in January 1927, possibly as a result of criticizing a film which effectively preaches the line of the Communist Party.
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Dziga Vertov was fired for making A Sixth Part of the World: Advertising and the Soviet Universe for the State Trade Organization into a propaganda film, selling the Soviet as an advanced society under the NEP, instead of showing how they fit into the world economy.
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The Ukraine State Studio hired Dziga Vertov to create Man with a Movie Camera.
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Dziga Vertov says in his essay "The Man with a Movie Camera" that he was fighting "for a decisive cleaning up of film-language, for its complete separation from the language of theater and literature".
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All of these shots might conform to Dziga Vertov's credo "caught unawares".
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Dziga Vertov slowed down his movements, such as the decision whether to jump or not.
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Dziga Vertov wanted a peace between the actions of man and the actions of a machine, for them to be, in a sense, one.
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Dziga Vertov believed his concept of Kino-Glaz, or "Cine Eye" in English, would help contemporary "man" evolve from a flawed creature into a higher, more precise form.
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Dziga Vertov surrounded himself with others who were firm believers in his ideas.
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In May 1927 Dziga Vertov moved to Ukraine, and the Cine-Eye movement broke up.
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Lullaby, perhaps the last film in which Dziga Vertov was able to maintain his artistic vision, was released in 1937.
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Dziga Vertov's brother Boris Kaufman was a cinematographer who worked with Jean Vigo on L'Atalante and much later for directors such as Elia Kazan in the United States who won an Oscar for his work on On the Waterfront.
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Dziga Vertov's ideas are echoed in cinema verite, the movement of the 1960s named after Vertov's Kino-Pravda.
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The independent, exploratory style of Dziga Vertov influenced and inspired many filmmakers and directors like the Situationist Guy Debord and independent companies such as Dziga Vertov Industries in Hawaii.
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In 1960, Jean Rouch used Dziga Vertov's filming theory when making Chronicle of a Summer.
30.
Dziga Vertov's work has inspired notable artist and filmmaker William Kentridge.