"And yet the eye is so poor that it sees only chaos, without discerning directions. But when the motion speeds up to a monstrous rate, when a temporal segment of five minutes is shown in a single minute, when people, trams, street crowds start a mad rush, then the chaos of motion breaks down into diagrams, lines, directions which our eye can now watch...These memorable elements in Man with a Movie Camera are only grains of sand in the extraordinary wealth of filmed material reflecting the many sides of life, sometimes its poles, in order to produce a single coherent sensation - life." pg. 331
- Naum Kaufman, "Chelovek s kinoapparatom", Sovetskii ekran, no. 5, 1929, p. 5
Tsivian, Yuri. Lines of Resistance: Dziga Vertov and the Twenties. Le Giornate del Cinema Muto, 2005.
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Naum Kaufman's commentary on Dziga Vertov's Man With a Movie Camera describes the film's structural dissection of life. He articulates how life should be experiences as a multifaceted and multidimensional environment - and how, through this process, Vertov creates a new etymology of film language.
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