Man with a Movie Camera

"The film Man with a Movie Camera represents
AN EXPERIMENTATION IN THE CINEMATIC TRANSMISSION
Of visual phenomena
WITHOUT THE USE OF INTERTITLES
(a film without intertitles) WITHOUT THE HELP OF A SCRIPT
(a film without script)
WITHOUT THE HELP OF A THEATRE
(a film without actors, without sets, etc.)



Man with a Movie Camera (Russian: Человек с киноаппаратом, Chelovek s kino-apparatom; Ukrainian: Людина з кіноапаратом, Liudyna z kinoaparatom), sometimes called The Man with the Movie Camera, The Man with a Camera, The Man With the Kinocamera, or Living Russia[1] is an experimental 1929 silent documentary film, with no story and no actors[2], by Russian director Dziga Vertov, edited by his wife Elizaveta Svilova who helped with the process of deleting and adding new frames into the film.

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 cameraman of the title and the modern Soviet Union he discovers and presents 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).



from wiki http://en.wikipedia.org/wiki/Man_with_a_Movie_Camera