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Mar 10, 2015 · Dziga Vertov (b. 1896, Bialystok, Russian Empire–d. 1954, Moscow, USSR) was a pioneering Soviet filmmaker, whose films and manifestos played a central role in 20th century documentary, experimental film, and political cinema traditions. Working in the USSR in the 1920s–1950s, Vertov led the radical Kino-Eye (Cine-Eye) collective, which ...
Apr 20, 2010 · Dziga Vertov (1896–1954) presents some unusual problems with regard to his inclusion in this series. If we define an “auteur” as a filmmaker with a vision who places the stamp of his personality on his work, that presumes that there is a discernible personality or way of looking at the world.
Introduction Dziga Vertov (Russian: Дзига Вертов, born David Abelevich Kaufman, Russian: Дави́д А́белевич Ка́уфман, and also known as Denis Kaufman; 2 January 1896 [O.S. 21 December 1895] – 12 February 1954) was a Soviet pioneer documentary film and newsreel director, as well as a cinema theorist.
Dziga Vertov. Dziga Vertov (nascido Denis Arkadievitch Kaufman; Białystok, 2 de janeiro de 1896 — 12 de fevereiro de 1954) foi um cineasta, documentarista, experimental e jornalista soviético, o grande precursor do cinema directo, na sua versão de cinema verdade. Irmão mais velho dos diretores de fotografia Mikhail Kaufman e Boris Kaufman .
Man with a Movie Camera [1] ( Russian: Человек с киноаппаратом, romanized : Chelovek s kinoapparatom) is an experimental 1929 Soviet silent documentary film, directed by Dziga Vertov, filmed by his brother Mikhail Kaufman, and edited by Vertov's wife Yelizaveta Svilova. Kaufman also appears as the eponymous Man of the film.
David Abelevich Kaufman (Давид Абелевич Кауфман; Denis Kaufman; pseudonym Dziga Vertov; Дзига Вертов) was a director, screenwriter, and theoretician of documentary film, one of the creators of its language. He came to Soviet documentary film in 1918, inspired by the ideas of the revolution, and became known as a ...
Summary of Dziga Vertov. Vertov was one of the most acclaimed of the Soviet Formalist filmmakers. Closely aligned with the Constructivist movement, he developed his Kino-Glaz ("Film Eye") theory that proposed that film (the moving image) had a status and potential all of its own and should therefore sever all ties to theater or contrived studio production.
