Man with a Movie Camera
In the film Man with a Movie Camera (Vertov 1929), the use of intellectual montage accentuates the disharmony of the Soviet people with their life in the city. However, with the use of the kino eye and superimposed cameraman, Vertov gives the audience a glimpse of the potential of harmony while using Soviet ideals. Ultimately, the juxtaposition between the conflict and unanimity highlights the experimental editing style and unique agitation the audience feels from watching the film.
To enumerate, the intellectual montage reveals the commentary by Vertov on disharmony in the city. He captures an interesting commentary on topics that are relevant in communism, immediately causing reactions and impressions from the audience. Vertov uses a match cut to illustrate the conflict in a scene where we see a woman getting pampered through her hair washing. The match cut shows someone working intensely by washing fabric. The composition of the shot and the reiteration directly contributes to the cinematic reality that the viewer has. Vertov is able to especially use the Kuleshov effect in which the audience makes connections and creates new ideas. From seeing different class levels the audience is provoked to consider a social and economic structure through Vertov’s editing.
Simultaneously, Vertov’s use of the Kino eye is highly impactful to the audience by reminding us that we are only seeing what the cameraman wants us to see, and we resign ourselves to that power through watching the movie. Vertov shows the more harmonious aspects of the Soviet lifestyle. Throughout the film, there is a Rhythmic Montage of the streets and trolley cars. In a poignant moment, the movement of the trolley cars reveals the cameraman standing in the center. Trolleys, people and cars, all move around him acknowledging the power and harmony that the cameraman has in the situation. Another example is when the audience sees the camera panning above the city and below people go about their lives. Vertov shows us these moments through his lens of coexistence that exists in the realm he’s created.
In conclusion, Vertov uses editing to illustrate the relationship between not only the shots but also the Soviet people. The audience feels the power of cinema when they are able to connect content with shots through rhythm, tone, and patterns. Vertov provides context to visual symbolism. With little artistic intention, he is still able to make the audience respond in an emphatic way.
