Aghazadeh Masrour Nilufar - 12013816The Man with a Camera - A Groundbreaking Masterpiece or an Experimental Documentary?This essay will discuss how “The Man with a Camera” is depicted in the television documentary and will examine key contextual areas of the factual film in more detail. By deconstructing the elements of cinematic techniques and existing art forms and associated concepts, a clear understanding of the chosen topic will be presented. The documentary "The Man with a Cinema Camera", also known as "Chelovek s kinoapparatom", was produced in 1929, by Dziga Vertov who used a different cinematic approach to depict Soviet society after the Revolution. Man With A Movie Camera simulates a reality of leisure and daily activities carried out by Soviet workers, expressing the idea of ​​a structured society that functions like a mechanical device. The depiction of automatic machines in relation to the Soviet working nation creates an identifiable image of the connection between them in the documentary. Throughout the film, Vertov experimented with cinema manipulation techniques such as speed, superimposition, juxtaposition, reverse action and multi-frame imagery, to expose to the audience the essential importance that editing had . However, the special effects are not used to correct the scenes nor are they subtle, instead building the idea of ​​how the camera can effortlessly influence everyday reality. Despite the lack of a usual narrative and film script, the documentary still has a linear structure. Vertov successfully recreates a “real-life” version of the shots depicted in the scenes from Man With A Movie Camera. As a result, the continuous... middle of paper ... usable in the making of fiction films and acting films" (Hicks, 2007) and suggests that Vertov's philosophy was born out of an undeniable ambition to change two major realities: the way in which documentaries were produced and the way in which the public was already accustomed to a staged product of cinema. Manovich claims that Man With A Movie Camera is similar to a new media subject that contains fundamental levels of structure. Further, he asserts that Vertov's documentary structure is composed of at least three levels. Theoretically, the first level represents the story of the cameraman Mikhail Kaufman who records the shots. The next level depicts the audience watching this completed documentary in a movie theater, while the third level is based on the film itself and how a day's progression plays out, as evidenced in the captured scenes ( Manovich, 2001).