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614:: the scenes of the selling of the newspapers on the streets and the people reading the papers in the trolley were both staged for the camera.) The cinematography is simple, functional, unelaborate—perhaps a result of Vertov's disinterest in both "beauty" and the "grandeur of fiction". Twenty-three issues of the series were produced over a period of three years; each issue lasted about twenty minutes and usually covered three topics. The stories were typically descriptive, not narrative, and included vignettes and exposés, showing for instance the renovation of a trolley system, the organization of farmers into communes, and the trial of Social Revolutionaries; one story shows starvation in the nascent
788:, two trains are shown almost melting into each other. Although we are taught to see trains as not riding that close, Vertov tried to portray the actual sight of two passing trains. Mikhail spoke about Eisenstein's films as being different from his and his brother's in that Eisenstein "came from the theatre, in the theatre one directs dramas, one strings beads". "We all felt...that through documentary film we could develop a new kind of art. Not only documentary art, or the art of chronicle, but rather an art based on images, the creation of an image-oriented journalism", Mikhail explained. More than even film truth,
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831:, or "Cine Eye" in English, would help contemporary "man" evolve from a flawed creature into a higher, more precise form. He compared man unfavorably to machines: "In the face of the machine we are ashamed of man's inability to control himself, but what are we to do if we find the unerring ways of electricity more exciting than the disorderly haste of active people " As he put it in a 1923 credo, "I am the Cine-Eye. I am the mechanical eye. I the machine show you the world as only I can see it. I emancipate myself henceforth and forever from human immobility.
665:, and other cinematic "artificialities", giving rise to criticisms not just of his trenchant dogmatism, but also of his cinematic technique. Vertov explains himself in "On 'Kinopravda' ": in editing "chance film clippings" together for the Kino-Nedelia series, he "began to doubt the necessity of a literary connection between individual visual elements spliced together.... This work served as the point of departure for 'Kinopravda' ". Towards the end of the same essay, Vertov mentions an upcoming project which seems likely to be
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722:(NEP) of 1921, Russia began receiving fiction films from afar, an occurrence that Vertov regarded with undeniable suspicion, calling drama a "corrupting influence" on the proletarian sensibility ("On 'Kinopravda' ", 1924). By this time Vertov had been using his newsreel series as a pedestal to vilify dramatic fiction for several years; he continued his criticisms even after the warm reception of
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By this point in his career, Vertov was clearly and emphatically dissatisfied with narrative tradition, and expresses his hostility towards dramatic fiction of any kind both openly and repeatedly; he regarded drama as another "opiate of the masses". Vertov freely admitted one criticism leveled at his
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This revival of Vertov's legacy included rehabilitation of his reputation in the Soviet Union, with retrospectives of his films, biographical works, and writings. In 1962, the first Soviet monograph on Vertov was published, followed by another collection, "Dziga Vertov: Articles, Diaries, Projects".
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was supposed to be a way to make those in the Soviet Union more efficient in their actions. He slowed down his movements, such as the decision whether to jump or not. You can see the decision in his face, a psychological dissection for the audience. He wanted a peace between the actions of man and
784:"life caught unaware of the camera". All of these shots might conform to Vertov's credo "caught unawares". His slow motion, fast motion, and other camera techniques were a way to dissect the image, Mikhail Kaufman stated in an interview. It was to be the honest truth of perception. For example, in
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for Vertov, "life as it is" means to record life as it would be without the camera present. "Life caught unawares" means to record life when surprised, and perhaps provoked, by the presence of a camera. This explanation contradicts the common assumption that for Vertov "life caught unawares" meant
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Vertov clearly intended an active relationship with his audience in the series—in the final segment he includes contact information—but by the 14th episode the series had become so experimental that some critics dismissed Vertov's efforts as "insane". Vertov responded to their criticisms with the
892:(1931), an examination into Soviet miners, has been called a 'sound film', with sound recorded on location, and these mechanical sounds woven together, producing a symphony-like effect. Many Soviet critics did not receive the film positively, but critics abroad lauded its sonic experimentation.
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Vertov believed film was too "romantic" and "theatricalised" due to the influence of literature, theater, and music, and that these psychological film-dramas "prevent man from being as precise as a stopwatch and hamper his desire for kinship with the machine". He desired to move away from "the
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905:. The film, finished in January 1934 for Lenin's obit, was only publicly released in the Soviet Union in November of that year. From July 1934 it was shown at private screenings to various high-ranking Soviet officials and also to prominent foreigners including H. G. Wells,
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in August 1934. A new version of the film was released in 1938, including a longer sequence to reflect Stalin's achievements at the end of the film and leaving out footage of "enemies" of that time. Today there exists a 1970 reconstruction by
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was a heavily fictionalized film telling the story of a mutiny on a battleship which came about as a result of the sailors' mistreatment; the film was an obvious but skillful propaganda piece glorifying the proletariat. Vertov lost his job at
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406:. In 1916–1917 Vertov was studying medicine at the Psychoneurological Institute in Saint Petersburg and experimenting with "sound collages" in his free time. He eventually adopted the name "Dziga Vertov", which translates loosely from
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as a creative tool through which the film-viewing masses could be subjected to "emotional and psychological influence" and therefore able to perceive "the ideological aspect" of the films they were watching, Vertov believed the
756:. 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". By the later segments of
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series, Vertov focused on everyday experiences, eschewing bourgeois concerns and filming marketplaces, bars, and schools instead, sometimes with a hidden camera, without asking permission first. Usually, the episodes of
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Vertov's driving vision, expounded in his frequent essays, was to capture "film truth"—that is, fragments of actuality which, when organized together, have a deeper truth that cannot be seen with the naked eye. In the
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were known; in 2018 Russian film historian
Nikolai Izvolov found lost film in the Russian State Documentary Film & Photo Archive and restored it. In 2022 he reconstructed another lost film, 1921
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Vertov surrounded himself with others who were also firm believers in his ideas. These were the Kinoks, other
Russian filmmakers who would assist him in his hopes of making "cine-eye" a success.
760:, Vertov was experimenting heavily, looking to abandon what he considered film clichés (and receiving criticism for it); his experimentation was even more pronounced and dramatic by the time of
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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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pre-Revolutionary 'fictional' models" of filmmaking to one based on the rhythm of machines, seeking to "bring creative joy to all mechanical labour" and to "bring men closer to machines".
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Kendall, Matthew. Boisterous Utopia: Soviet Sonic
Culture and Dziga Vertov's. The Russian Review: An American Quarterly Devoted to Russia Past and Present. Vol. 81, 2022.
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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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540:, a radical Russian newsmagazine, was established in 1922; the group's "three" were Vertov, his (future) wife and editor Elizaveta Svilova, and his brother and
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In 1984, to recall the 30th anniversary of Vertov's death, three New York cultural organizations put on the first
American retrospective of Vertov's work.
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MacKay, John (2012). "Allegory and
Accommodation: Vertov's Three Songs of Lenin (1934) as a Stalinist Film". In Ioffe, Dennis; White, Frederick (eds.).
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state. Propagandistic tendencies are also present, but with more subtlety, in the episode featuring the construction of an airport: one shot shows the
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in 1934, Vertov was forced to cut his personal artistic output significantly, eventually becoming little more than an editor for Soviet newsreels.
458:, the Moscow Cinema Committee's weekly film series, and the first newsreel series in Russia), which first came out in June 1918. While working for
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Documentary Film: A Very Short
Introduction: A Very Short Introduction by Patricia Aufderheide; Oxford University Press, 28 November 2007, page 37
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558:, published by Aleksei Gan in 1922. It commenced with a distinction between "kinoks" and other approaches to the emergent cinematic industry:
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2140:." In Jane Gaines, Radha Vatsal, and Monica Dall'Asta, eds. Women Film Pioneers Project. New York, NY: Columbia University Libraries. <
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assertion that the critics were hacks nipping "revolutionary effort" in the bud, and concluded an essay with a promise to "explode art's
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missions intended primarily to bolster the morale of the troops; they were also intended to stir up revolutionary fervor of the masses.
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would influence the actual evolution of man, "from a bumbling citizen through the poetry of the machine to the perfect electric man".
967:, worked with Vertov on his films until he became a documentarian in his own right. Mikhail Kaufman's directorial debut was the film
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470:. She began collaborating with Vertov, beginning as his editor but becoming assistant and co-director in subsequent films, such as
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824:"Cine-Eye" is a montage method developed by Dziga Vertov and first formulated in his work "WE: Variant of a Manifesto" in 1919.
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671:(1929), calling it an "experimental film" made without a scenario; just three paragraphs above, Vertov mentions a scene from
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We consider the psychological Russo-German film-drama – weighed down with apparitions and childhood memories – an absurdity."
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Vertov is known for quotes on perception, and its ineffability, in relation to the nature of qualia (sensory experiences).
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My path leads towards the creation of a fresh perception of the world. I can thus decipher a world that you do not know."
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630:". In Vertov's view, "art's tower of Babel" was the subservience of cinematic technique to narrative—what film theorist
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Like other
Russian filmmakers, he attempted to connect his ideas and techniques to the advancement of the aims of the
562:"We call ourselves kinoks – as opposed to "cinematographers", a herd of junkmen doing rather well peddling their rags.
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901:(1934) looked at the revolution through the eyes of the Russian peasantry. For his film, Vertov had been hired by
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Kino: A History of the
Russian and Soviet Film, With a New Postscript and a Filmography Brought Up to the Present
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Early Soviet Cinema; Innovation, Ideology and
Propaganda by David Gillespie Wallflower Press London 2005, page 57
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at some point after 1918. Vertov studied music at Białystok Conservatory until his family fled from the invading
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Our Eyes, Spinning Like Propellers: Wheel of Life, Curve of Velocities, and Dziga Vertov's Theory of the Interva
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679:: the peasant works, and so does the urban woman, and so too, the woman film editor selecting the negative... "
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The independent, exploratory style of Vertov influenced and inspired many filmmakers and directors like the
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MacKay, John. "Allegory and Accommodation: Vertov's «Three Songs of Lenin» (1934) as a Stalinist Film." In
1973:
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Kollision der Kader. Dziga Vertovs Filme, die Visualisierung ihrer Strukturen und die Digital Humanities
928:, perhaps the last film in which Vertov was able to maintain his artistic vision, was released in 1937.
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in January 1927, possibly as a result of criticizing a film which effectively preaches the line of the
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513:; Vertov's had equipment to shoot, develop, edit, and project film. The trains went to battlefronts on
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MacKay, John. "Film Energy: Process and Metanarrative in Dziga Vertov's «The Eleventh Year» (1928)."
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1998:-Meyer, Natascha (1994). "Griffiths und Vertovs Wiege. Dziga Vertovs Film 'Kolybel'naja' (1937)".
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We see no connection between true kinochestvo and the cunning and calculation of the profiteers.
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295:, a radical film-making cooperative which was active from 1968 to 1972. He was a member of the
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622:'s tanks helping prepare a foundation, with an intertitle reading "Tanks on the labor front".
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DVD, restored version and unrestored version plus documentary on Peter Kubelka's restoration.
2057:; edited and with an introduction by Yuri Tsivian. Le Giornate del cinema muto, Gemona, Udine
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Graffy, Julian; Deriabin, Aleksandr; Sarkisova, Oksana; Keller, Sarah; Scandiffio, Theresa .
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director, as well as a cinema theorist. His filming practices and theories influenced the
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509:. Some of the cars on the agit-trains were equipped with actors for live performances or
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The Documentary Idea: a Critical History of English-Language Documentary Film and Video.
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The technique of film and video editing: history, theory, and practice, by Ken Dancyger
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Michelson, Annette & Turvey, Malcolm, eds. "New Vertov Studies." Special Issue of
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Bilingual (German-English). (Paperback – May 2006), FilmmuseumSynemaPublikationen.--
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Most of Vertov's early work was unpublished, and few manuscripts survived after the
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However, Vertov's two credos, often used interchangeably, are in fact distinct, as
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did not include reenactments or stagings. (One exception is the segment about the
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Some early Vertov's films were lost for many years. Only 12 minutes of his 1918
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Singer, Ben. "Connoisseurs of Chaos: Whitman, Vertov and the 'Poetic Survey,'"
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His statement "We: Variant of a Manifesto" was published in the first issue of
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Central Studio for Documentary Film (ЦСДФ) museum biography page (in Russian)
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Documenting the Documentary: Close Readings of Documentary Film and Video.
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In May 1927 Vertov moved to Ukraine, and the Cine-Eye movement broke up.
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series. The series took its title from the official government newspaper
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series in Canada in the 1950s all essentially owed a debt to Vertov.
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The Film Factory: Russian and Soviet Cinema in Documents, 1896–1939
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and independent companies such as Vertov Industries in Hawaii. The
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1976:. "Rushes: Pordenone Retrospective: Gazing into the Future.", in:
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series—that the series, while influential, had a limited release.
1919:"Anniversary of the Revolution (1918) - Dziga Vertov | IDFA"
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Russian Avant-Garde and Radical Modernism: An Introductory Reader
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With Lenin's admission of limited private enterprise through the
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The so-called "Council of Three," a group issuing manifestoes in
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Feldman, Seth. "'Peace between Man and Machine': Dziga Vertov's
1934:"The History of the Civil War (1921) - Dziga Vertov | IDFA"
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when describing the style, using direct translation of Vertov's
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series for three years, helping establish and run a film-car on
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1791:. University of Southampton Institutional Research Repository.
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The film factory : Russian and Soviet cinema in documents
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Vertov's legacy still lives on today. His ideas are echoed in
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A Sixth Part of the World: Advertising and the Soviet Universe
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In 1919, Vertov compiled newsreel footage for his documentary
2305: (archived 18 June 2010), by John MacKay, Yale University
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Tode, Thomas & Wurm, Barbara, Austrian Film Museum, eds.
1811:"Dziga Vertov – Director – Films as Director:, Publications"
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in North America in the late 1950s and early 1960s, and the
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the actions of a machine, for them to be, in a sense, one.
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Vertov's work has inspired notable artist and filmmaker
2019:
Rhapsodie und Apparatur. Zu den Filmen des Dziga Vertov
2107:"The 'Spinning Top' Takes Another Turn: Vertov Today."
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LAmag - Culture, Food, Fashion, News & Los Angeles
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in the United States who won an Oscar for his work on
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he met his future wife, the film director and editor,
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Evolution of style in the early work of Dziga Vertov.
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Music, Modernity, and the Foreign in the New Germany.
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movement in the United Kingdom during the 1950s, the
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Vertov's successful career continued into the 1930s.
1893:"15 Minutes With Visionary Artist William Kentridge"
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of 1917, at the age of 22, Vertov began editing for
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Wayne State University Press, 1998. pp. 40–53.
976:In 1923, Vertov married his long-time collaborator
2205:1928, in: Annette Michelson ed. Kevin O'Brien tr.
2185:Lines of Resistance: Dziga Vertov and the Twenties
2055:Lines of Resistance: Dziga Vertov and the Twenties
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1756:"A REVOLUTION IN FILM: THE CINEMA OF DZIGA VERTOV"
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1344:. US: Rowman & Littlefield. pp. 731–735.
1342:Historical Dictionary of Russian and Soviet Cinema
1963:Oxford University Press. Original copyright 1974.
1548:A New History of Documentary Film: Second Edition
1366:"Sight & Sound Revises Best-Films-Ever Lists"
1061:suggested Vertov as one of the early pioneers of
992:, the movement of the 1960s named after Vertov's
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752:The Ukraine State Studio hired Vertov to create
275:21 December 1895] – 12 February 1954) was a
1961:Documentary: a History of the Non-fiction Film.
1782:"Elizaveta Svilova and Soviet Documentary Film"
931:Dziga Vertov died of cancer in Moscow in 1954.
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354:Vertov was born David Abelevich Kaufman into a
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524:he also supervised the filming of his project
466:, who at the time was working as an editor at
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2294:Newsreels by Vertov on europeanfilmgateway.eu
2207:Kino-Eye : The Writings of Dziga Vertov,
1454:Dziga Vertov : defining documentary film
675:which should be quite familiar to viewers of
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333:were also noted filmmakers, as was his wife,
2249:DVD, audio commentary track by Yuri Tsivian.
2113:John MacKay | Yale University – Academia.edu
953:(1934) and much later for directors such as
2232:Beyond Document: Essays on Nonfiction Film.
2216:1922, in Ian Christie, Richard Taylor eds.
2170:Dziga Vertov. The Vertov Collection at the
322:(1929) the eighth-greatest film ever made.
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2071:London & New York: I. B. Tauris, 2007.
1980:. 2005, 15, 1, 4–5, British Film Institute
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291:style of documentary movie-making and the
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1491:The film till now, a survey of the cinema
1014:used Vertov's filming theory when making
918:. With the rise and official sanction of
909:, and others, and it was screened at the
2247:Dziga Vertov's Man with the Movie Camera
2069:Dziga Vertov: Defining Documentary Film.
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2504:Recipients of the Order of the Red Star
2313:(1924), scored by Robert Israel in 1999
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1733:. Academic Studies Press. p. 420.
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2544:Deaths from cancer in the Soviet Union
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2115:Drafts of Dziga Vertov: Life and Work]
2083:Film History: An International Journal
2064:. Munich: edition text + kritik, 2016.
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1753:
1728:
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943:was a cinematographer who worked with
390:in 1915. The Kaufmans soon settled in
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2209:University of California Press, 1995.
2187:. Le Giornate del Cinema Muto, 2004.
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827:Dziga Vertov believed his concept of
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2142:https://doi.org/10.7916/d8-y8we-0736
1798:from the original on 28 August 2019.
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1096:Anniversary of the Revolution (1918)
636:institutional mode of representation
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1456:. London: I.B. Tauris. p. 55.
1218:1931 Энтузиазм (Симфония Донбаса) (
889:Enthusiasm: Symphony of the Donbass
879:Enthusiasm: Symphony of the Donbass
657:series, Vertov made liberal use of
612:trial of the Social Revolutionaries
24:
1879:American retrospective of Vertov'.
1526:from the original on 23 April 2014
638:—which would come to dominate the
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2529:Soviet documentary film directors
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2039:, and Jeannette Sloniowski, eds.
1932:www.oberon.nl, Oberon Amsterdam.
1917:www.oberon.nl, Oberon Amsterdam.
1634:At 16:04 on the commentary track.
1545:McLane, Betsy A. (5 April 2012).
1442:
1393:A New History of Documentary Film
585:was released, Vertov started the
413:
2458:In Memory of Sergo Ordzhonikidze
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2234:Wesleyan University Press, 1996.
1239:In Memory of Sergo Ordzhonikidze
1236:1937 Памяти Серго Орджоникидзе (
1151:1921 История гражданской войны (
2549:Burials at Novodevichy Cemetery
2519:Russian experimental filmmakers
2094:and the Ear of the Collective."
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2276:Senses Of Cinema: Dziga Vertov
2253:Entuziazm (Simfonija Donbassa)
2203:The Man with the Movie Camera.
2149:The Man with the Movie Camera.
2131:Dziga Vertov's Long-Lost Films
1578:. Princeton University Press.
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1209:1929 Человек с киноаппаратом (
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522:Anniversary of the Revolution;
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155:Film director, cinema theorist
27:Soviet film director (d. 1954)
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1:
2214:We. A Version of a Manifesto.
2178:online version available here
1944:
1754:MacKay, John (1 April 2011).
1572:Leyda, Jay (21 August 1983).
1551:. A&C Black. p. 44.
1290:Anniversary of the Revolution
1283:
1146:Anniversary of the Revolution
394:, where Vertov began writing
316:poll, critics voted Vertov's
34:Eastern Slavic naming customs
2514:Jews from the Russian Empire
2165:; 15:4 (Fall 1987): 247–258.
2133:, mubi.com, 8 February 2022.
2033:The Man with a Movie Camera.
1510:"We: Variant of a manifesto"
1326:
1294:The History of the Civil War
1010:borrowed his name. In 1960,
528:(1919). in 1921 he compiled
440:After the October Revolution
344:
7:
2102:; 121 (Summer 2007): 41–78.
2050:1977, Arno Press, New York.
1891:Amadour (7 December 2022).
1299:
1270:In the Mountains of Ala-Tau
1067:Database as a symbolic form
796:
271:; 2 January 1896 [
10:
2565:
1395:(2nd ed.). New York:
1391:McClane, Betsy A. (2013).
1261:1942 Казахстан – фронту! (
1144:1918 Годовщина революции (
833:I am in constant motion...
781:Man with the Movie Camera:
745:. He was fired for making
688:
640:classical Hollywood cinema
325:Vertov's younger brothers
32:In this name that follows
31:
2418:A Sixth Part of the World
2377:
2365:
2163:Literature/Film Quarterly
2076:Abstract Film and Beyond.
1863:. Perigee Books. p.
1296:using archive materials.
1263:Kazakhstan for the Front!
1227:1934 Три песни о Ленине (
1189:A Sixth Part of the World
934:
677:Man with the Movie Camera
454:
265:Дави́д А́белевич Ка́уфман
264:
252:
226:
201:
180:A Sixth Part of the World
167:
159:
151:
143:
116:
82:
66:
59:
2017:-Meyer; Murasov, Jurij,
1936:– via www.idfa.nl.
1921:– via www.idfa.nl.
1859:The Encyclopedia of Film
1186:1926 Шестая часть мира (
1167:1924 Советские игрушки (
1153:History of the Civil War
526:The Battle for Tsaritsyn
2524:Soviet cinematographers
2450:Three Songs About Lenin
2434:Man with a Movie Camera
2287:Three Songs About Lenin
1966:Bohlman, Philip Vilas.
1452:Hicks, Jeremy. (2007).
1340:Peter Rollberg (2009).
1230:Three Songs About Lenin
1212:Man with a Movie Camera
898:Three Songs About Lenin
790:Man with a Movie Camera
786:Man with a Movie Camera
762:Man with a Movie Camera
754:Man with a Movie Camera
711:Man with a Movie Camera
691:Man with a Movie Camera
684:Man with a Movie Camera
668:Man with a Movie Camera
579:In 1922, the year that
479:Three Songs About Lenin
473:Man with a Movie Camera
339:Man with a Movie Camera
319:Man with a Movie Camera
257:David Abelevich Kaufman
187:Man with a Movie Camera
87:David Abelevich Kaufman
2085:; 18.4 (2006) 376–391.
2060:Heftberger, Adelheid.
2021:. Frankfurt a.M. 1999.
1970:1994, pp. 121–152
1855:Monaco, James (1991).
1828:Dancyger, Ken (2002).
1780:Penfold, Christopher.
1698:Vertov 1922, pp. 69–71
1684:: CS1 maint: others (
1268:1944 В горах Ала-Тау (
1129:
1113:
1097:
883:
848:montage of attractions
821:
820:(1924) by Dziga Vertov
764:, which was filmed in
715:
507:counterrevolutionaries
378:, David Abelevich, to
77:David Kaufman) in 1913
2534:Soviet film directors
2499:People from Białystok
2299:A biography of Vertov
2230:Warren, Charles, ed.
2136:Molcard, Eva. 2020. "
2090:"Disorganized Noise:
1815:www.filmreference.com
1311:Formalist film theory
1306:Soviet montage theory
1125:
1103:
1095:
1016:Chronicle of a Summer
963:. His other brother,
876:
816:
708:
485:Vertov worked on the
366:, then a part of the
2172:Austrian Film Museum
2151:I. B. Tauris, 2001.
2028:Prentice Hall, 1989.
1195:1926 Шагай, Совет! (
984:Influence and legacy
911:Venice Film Festival
515:agitation-propaganda
446:Bolshevik Revolution
374:his Jewish name and
267:, and also known as
2539:Soviet film editors
2183:Tsivian, Yuri, ed.
2126:121 (Summer 2007)).
2078:Studio Vista, 1977.
2074:Le Grice, Malcolm.
1789:eprints.soton.ac.uk
1498:. pp. 167–170.
1202:1928 Одиннадцатый (
1110:Alexander Rodchenko
1065:genre in his essay
895:Three years later,
729:Battleship Potemkin
720:New Economic Policy
582:Nanook of the North
497:during the ongoing
410:as 'spinning top'.
1950:Books and articles
1710:Vertov 1922, p. 71
1643:Vertov 1922, p. 69
1625:Vertov 1928, p. 83
1616:Vertov 1924, p. 46
1607:Vertov 1924, p. 42
1598:Vertov 1924, p. 47
1399:. pp. 42, 47.
1275:1954 Новости дня (
1254:1938 Три героини (
1245:1937 Колыбельная (
1130:
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1008:Dziga Vertov Group
916:Yelizaveta Svilova
884:
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653:By the end of the
335:Yelizaveta Svilova
293:Dziga Vertov Group
105:Grodno Governorate
2476:
2475:
2426:The Eleventh Year
2220:Routledge, 1994.
2147:Roberts, Graham.
2138:Elizaveta Svilova
2037:Barry Keith Grant
1585:978-0-691-00346-7
1558:978-1-4411-2457-9
1351:978-0-8108-6072-8
1204:The Eleventh Year
1158:1922 Киноправда (
1133:1918 Кинонеделя (
1123:
1093:
1074:William Kentridge
978:Elizaveta Svilova
960:On the Waterfront
939:Vertov's brother
920:socialist realism
844:Sergei Eisenstein
814:
724:Sergei Eisenstein
706:
499:Russian Civil War
464:Elizaveta Svilova
380:Denis Arkadievich
313:Sight & Sound
301:Elizaveta Svilova
299:collective, with
242:
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208:Elizaveta Svilova
160:Years active
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2281:Dziga Vertov's
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2197:Vertov, Dziga.
2067:Hicks, Jeremy.
2046:Feldman, Seth.
2024:Ellis, Jack C.
2015:Natascha Drubek
2000:Frauen und Film
1996:Natascha Drubek
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491:Mikhail Kalinin
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2092:Enthusiasm
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1486:Paul Rotha
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