Man with a Movie Camera (Russian: Человек с киноаппаратом, Chelovek s kinopparatom — sometimes called The Man with the Movie Camera, The Man with a Camera, The Man With the Kinocamera, or Living Russia) is an experimental 1929 silent documentary film, with no story and no actors, by Russian director Dziga Vertov, edited by his wife Elizaveta Svilova.
Vertov's feature film, produced by the Ukrainian film studio VUFKU, presents urban life in Odessa and other Soviet cities. From dawn to dusk Soviet citizens are shown at work and at play, and interacting with the machinery of modern life. To the extent that it can be said to have "characters," they are the cameramen of the title, the film editor, and the modern Soviet Union they discover and present in the film.
This film is famous for the range of cinematic techniques Vertov invents, deploys or develops, such as double exposure, fast motion, slow motion, freeze frames, jump cuts, split screens, Dutch angles, extreme close-ups, tracking shots, footage played backwards, stop motion animations and a self-reflexive style (at one point it features a split screen tracking shot; the sides have opposite Dutch angles).
In the 2012 Sight and Sound poll, film critics voted Man with a Movie Camera the 8th best film ever made.
Read more about Man With A Movie Camera: Overview, Vertov's Intentions, Stylistic Aspects, Production, Soundtracks
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—Fran Lebowitz (20th century)