CELOVEK S KINOAPPARATOM

<![CDATA[<i>]]>Excerpts from this film will be shown within the scope of the lecture by Jean-Pierre Gorin on Dziga Vertov, on October 24 at 9 p.m. at the Austrian Film Museum.<![CDATA[</i>]]>

“The film, <![CDATA[<i>]]>The Man With Movie Camera<![CDATA[</i>]]>, originally known as <![CDATA[<i>]]>&#268;elovek s kinoapparatom<![CDATA[</i>]]>, attempts to cinematically reproduce visual appearances without the help of subheadings (a film without subheadings), a script (a film without a script), or any theatrical means (a film without actors and stage design).
This new, experimental work, ‘Kinoglaz’, focuses on the creation of an authentic, international language of film, on an \"absolute cinematography\", and on decisively separating film from theater and literature. No differently than in <![CDATA[<i>]]>The Eleventh Year<![CDATA[</i>]]>, the film <![CDATA[<i>]]>The Man With Movie Camera<![CDATA[</i>]]> likewise comes close to embracing the ‘Radioglaz’ period, and advocates of ‘Kinoglaz’ define it as being a new and higher developed stage of the non-film.
(Dziga Vertov, 1928)