If Eisenstein illustrated an editing theory devoted to reshaping reality to incite the population to support the revolution, Dziga Vertov was as vehement that only the documented truth could be honest enough to bring about true revolution.
Vertov described his goals in the film The Man with a Movie Camera (1929) as follows: "The Man with a Movie Camera constitutes an experiment in the cinematic transmission of visual phenomena without the aid of intertitles (a film with no intertitles), script (a film with no script), theater (a film with neither actors nor sets). Kino-Eye's new experimental work aims to create a truly international film—language, absolute writing in film, and the complete separation of cinema from theater and literature."15
Pudovkin remained interested in bourgeois cinema, and Eisenstein was too much the intellectual. Neither was sufficiently radical for Vertov, whose devotion to the truth is exemplified by his documentary, The Man with a Movie Camera. Because the film was the story of one day in the life of a film cameraman, Vertov repeatedly reminds the viewer of the artificiality and nonrealism of cinema. Consequently, nonrealism, manipulation, and all of the technical elements of film become part of this self-reflexive (looking on the director's own intentions and using film to explore those intentions and make them overt) film. Special effects and fantasy were part of those technical elements (Figures 1.29 to 1.32).
Although on paper Vertov seems doctrinaire and dry, on film he is quite the opposite. He edits in a playful spirit that suggests filmmaking is pleasurable as well as manipulative. This sense of fun is freer than the work of Pudovkin or Eisenstein. In attitude, Vertov's work is more experimental and free form than the work of his contemporaries. This sense of freedom and free association becomes particularly important in the work of Alexander Dovzhenko in the Ukraine and Luis Bunuel in France.
In terms of editing, Vertov is more closely aligned with the history of the experimental film than with the history of the documentary. In terms of his ideas, however, he is a forerunner of the cinema verite movement in documentary film, a movement that awaited the technical achievements of World War II to facilitate its development.
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