Editing Man with a Movie Camera (section)

==Stylistic aspects==
Working within a [[Marxist]] ideology, Vertov strove to create a futuristic city that would serve as a commentary on existing ideals in the Soviet world. This artificial city's purpose was to awaken the Soviet citizen through truth and to ultimately bring about understanding and action. The kino's aesthetic shone through in his portrayal of electrification, [[industrialization]], and the achievements of workers through hard labor. This film is in keeping with modernist thoughts in how it challenges art both conceptually and in practice, incorporating industrial life and technology as featured subjects of the film and implementing new editing techniques.<ref>{{cite web |last1=Fer |first1=Briony |title=Film Montage: The Projection of Modernity |url=https://www.open.ac.uk/library/digital-archive/program/video:FOUA333S |website=Infobase |publisher=Open University |access-date=28 September 2023}}</ref> In utilizing these techniques, the artist creates a modern interpretation of city life.<ref>{{cite journal |last1=Telotte |first1=J.P. |title=The Cinematic Gaze and Kuttner's "Man with a Movie Camera" |journal=Extrapolation |date=1 January 2018 |volume=59 |issue=3 |page=235 |url=https://link.gale.com/apps/doc/A609412341/LitRC?u=asuniv&sid=bookmark-LitRC&xid=2e86e4c4 |access-date=28 September 2023 |publisher=Liverpool University Press (UK)|doi=10.3828/extr.2018.15 |url-access=subscription }}</ref>

Some have mistakenly stated that many visual ideas, such as the quick editing, the close-ups of machinery, the store window displays, even the shots of a typewriter keyboard are borrowed from [[Walter Ruttmann]]'s ''[[Berlin: Symphony of a Great City]]'' (1927), which predates ''Man with a Movie Camera'' by two years, but as Vertov wrote to the German press in 1929,{{sfn|Michelson|1995|loc=ch. "Dziga Vertov. Letter from Berlin", p. 101}} these techniques and images had been developed and employed by him in his Kino-Pravda newsreels and documentaries during the previous ten years, all of which predate ''Berlin''. Vertov's pioneering cinematic concepts actually inspired other abstract films by Ruttmann and others, including writer, translator, filmmaker and critic Liu Na'ou (1905–1940), whose ''The Man Who Has a Camera'' (1933) pays explicit homage to Vertov's ''Man with a Movie Camera''.<ref>"Rhythmic movement, the city symphony and transcultural transmediality: Liu Na'ou and ''The Man Who Has a Camera'' (1933)", Ling Zhang a Department of Cinema and Media Studies, The University of Chicago, Classics 305, ''Journal of Chinese Cinemas'', vol. 9, iss. 1, 2015, pp. 42–61. Published online: 11 March 2015. {{doi|10.1080/17508061.2015.1010303}}.</ref>

''Man with a Movie Camera''{{'}}s usage of double exposure and seemingly "hidden" cameras made the movie come across as a surreal montage rather than a linear motion picture. Many of the scenes in the film contain people, who change size or appear underneath other objects ([[Multiple exposure#Double exposure|double exposure]]). Because of these aspects, the movie is fast-moving. The sequences and close-ups capture emotional qualities that could not be fully portrayed through the use of words. The film's lack of "actors" and "sets" makes for a unique view of the everyday world; one that, according to a title card, is directed toward the creation of a new cinematic language that is "[separated] from the language of theatre and literature".