defining characteristic of cinema. Dziga Vertov’s 1929 film Man with a Movie Camera uses montage as a means to create a sense of consciousness within the viewer, while also reflecting, in his montage, the dynamism and chaos of modern life under the new Soviet regime. Vertov’s ultimate goal for cinema was to emancipate it from the bourgeois realm of canonical art and create a universal cinematic language that transcends class boundaries. The film associates the movie camera lens with the human eye, which
is a technique in film editing whereby a series of short shots are edited into a sequence to condense time, space, and information. The term montage was introduced to cinema primarily by Sergei Eisenstein, but other early Soviet directors such as Dziga Vertov helped shape the method into what it is today. Vertov and Eisenstein were two of post-revolutionary Russia’s most prominent filmmakers. Both men were devout Bolsheviks that each contributed to early cinema as an art form via unique revolutionary
relevant in modern times as opposed to other pieces of documentary from the early stages of cinema. When stepping back and properly analysing this quote of Renovs, one can see that due to the surfacing of numerous biography features over the past decade, movie makers are now trying to emulate the realness of non fiction through means that has often been more suitable to fiction itself in the past. And in many cases, to confirm his statement, these have often been well received amongst the public at large