Man with a Movie Camera is an experimental 1929 silent documentary film, with no story and no actors, by Soviet-Russian director Dziga Vertov, edited by his wife Elizaveta Svilova.
Vertov’s feature film, produced by the film studio VUFKU, presents urban life in the Soviet cities of Kiev, Kharkov, Moscow and Odessa
From dawn to dusk Soviet citizens are shown at work and at play, and interacting with the machinery of modern life. To the extent that it can be said to have “characters,” they are the cameramen of the title, the film editor, and the modern Soviet Union they discover and present in the film.
Man with a Movie Camera is famous for the range of cinematic techniques Vertov invents, deploys or develops, such as double exposure, fast motion, slow motion, freeze frames, jump cuts, split screens, Dutch angles, extreme close-ups, tracking shots, footage played backwards, stop motion animations and self-reflexive visuals (at one point it features a split-screen tracking shot; the sides have opposite Dutch angles).