“The Man with the Camera by Vertov’s group is an urban symphony film that combines futuristic aesthetics and Marxism. The photographer and his team have created a new Soviet world. By shooting in different locations Juxtaposed with different places and landscapes, an imaginary, artificial city is established literally on the screen. Alcoholism, capitalism (via NEP) and other pre-revolutionary problems persist, all kinds of More positive developments go hand in hand. The task of the film is to present these truths to the public of the new Soviet in order to bring out understanding and action. "Man with a Camera" constantly draws the audience's attention to the various processes of the film - Filmmaking, editing, film screening, going to the movies. In this way, the film of the Vertov group becomes a kind of manifesto for documentary films and a kind of condemnation of the fictional film that the Vertov group in his Fictional films are often complained about in various manifestos and writings…
In response to these critics, Vertov eliminated the use of intertitles in his manifesto-style film "The Man with the Camera" (Chelovek s kinoapparatom, 1929), one of the most "theoretical" films of the silent era. ” is a cinematic masterpiece that restricts itself strictly to images. The material of the film is documentary, but the background color of the film is Utopia (the filming location is not any city, but a combination of different scenes such as Moscow, Kiev, Odessa, and a mining area in Ukraine), "Man with a Camera" is A summary of the themes of the "Cinema Eyes" movement: The image of the worker is as perfect as the machine, and the filmmaker is as socially functional as the factory worker, all linked to those hyper-sensitive audiences who are able to provide them with No matter how complex the message is to respond. In 1929, however, all these Don Quixote-esque images were outdated—including the film's main image, that of an ideal city in which private and communal life are in perfect harmony and subject to absolute Effective and correct movie camera eye control. (Jeffrey Norville-Smith, World History of Cinema)
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