Man with a Movie Camera

File:Человек с киноаппаратом (1929).webm

The film is divided into six separate parts, one for each film reel on which it would have originally been printed. Each part begins with a number appearing on screen and falling down flat. The film makes use of many editing techniques, such as superimposition, slow motion, fast motion, rapid cross-cutting, and montage.

The film has an unabashedly avant-garde style, and the subject matter varies greatly. The titular man with the movie camera (Mikhail Kaufman, Vertov's brother) travels to diverse locations to capture a variety of shots. He appears in artistic images such as a superimposed shot of the cameraman setting up his camera atop a second, mountainous camera, and another superimposed shot of the cameraman inside a beer glass. General images include laborers at work, sporting events, couples getting married and divorced, a woman giving birth, and a funeral procession. Much of the film is concerned with people of varying economic classes navigating urban environments. On occasion, the film's editor (Svilova) is shown working with strips of film and various pieces of editing equipment.

Despite claiming to be without actors, the film features a few staged situations. This includes some of the cameraman's actions, the scene of a woman getting dressed, and chess pieces being swept to the center of the board (a shot spliced in backwards so the pieces expand outward and stand in position). Stop-motion is used for several shots, including an unmanned camera on a tripod standing up, showing off its mechanical parts, and then walking off screen.

Image:Mikhail kaufman on train.jpg

Vertov was an early pioneer in documentary film-making during the late 1920s. He belonged to a movement of filmmakers known as the kinoks, or kino-oki (kino-eyes). Vertov, along with other kino artists declared it their mission to abolish all non-documentary styles of film-making, a radical approach to movie making. Most of Vertov's films were highly controversial, and the kinok movement was despised by many filmmakers.

Vertov's crowning achievement, Man with a Movie Camera, was his response to critics who rejected his previous film, A Sixth Part of the World. Critics had declared that Vertov's overuse of "intertitles" was inconsistent with the film-making style to which the "kinoks" subscribed.{{Citation needed|date=January 2012}} Working within that context, Vertov dealt with a lot of fear in anticipation of the film's release. He requested a warning to be printed in the Soviet central Communist newspaper Pravda, which spoke directly of the film's experimental, controversial nature. Vertov was worried that the film would be either destroyed or ignored by the public.{{Citation needed|date=January 2012}} Upon the official release of Man with a Movie Camera, Vertov issued a statement at the beginning of the film, which read:

A real film represents

AN EXPERIMENTATION IN THE CINEMATIC COMMUNICATION

Of visual phenomena

WITHOUT THE USE OF INTERTITLES

(a film without intertitles)

WITHOUT THE HELP OF A SCENARIO

(a film without a scenario)

WITHOUT THE HELP OF THEATRE

(a film without actors, without sets, etc.)

This new experimentation work is directed towards the creation of an authentically international absolute language of cinema on the basis of its complete separation from the language of theatre and literature.

This manifesto echoes an earlier one that Vertov wrote in 1922, in which he disavowed popular films he felt were indebted to literature and theater.{{cite web |url=http://www.imagesjournal.com/issue05/reviews/vertov.htm |title=Images – Man With a Movie Camera by Grant Tracey |work=imagesjournal.com |access-date=10 March 2016}}

Working within a Marxist ideology, Vertov strove to create a futuristic city that would serve as a commentary on existing ideals in the Soviet world. This artificial city's purpose was to awaken the Soviet citizen through truth and to ultimately bring about understanding and action. The kino's aesthetic shone through in his portrayal of electrification, industrialization, and the achievements of workers through hard labor. This film is in keeping with modernist thoughts in how it challenges art both conceptually and in practice, incorporating industrial life and technology as featured subjects of the film and implementing new editing techniques.{{cite web |last1=Fer |first1=Briony |title=Film Montage: The Projection of Modernity |url=https://www.open.ac.uk/library/digital-archive/program/video:FOUA333S |website=Infobase |publisher=Open University |access-date=28 September 2023}} In utilizing these techniques, the artist creates a modern interpretation of city life.{{cite journal |last1=Telotte |first1=J.P. |title=The Cinematic Gaze and Kuttner's "Man with a Movie Camera" |journal=Extrapolation |date=1 January 2018 |volume=59 |issue=3 |page=235 |url=https://link.gale.com/apps/doc/A609412341/LitRC?u=asuniv&sid=bookmark-LitRC&xid=2e86e4c4 |access-date=28 September 2023 |publisher=Liverpool University Press (UK)|doi=10.3828/extr.2018.15 |url-access=subscription }}

Some have mistakenly stated that many visual ideas, such as the quick editing, the close-ups of machinery, the store window displays, even the shots of a typewriter keyboard are borrowed from Walter Ruttmann's Berlin: Symphony of a Great City (1927), which predates Man with a Movie Camera by two years, but as Vertov wrote to the German press in 1929,{{sfn|Michelson|1995|loc=ch. "Dziga Vertov. Letter from Berlin", p. 101}} these techniques and images had been developed and employed by him in his Kino-Pravda newsreels and documentaries during the previous ten years, all of which predate Berlin. Vertov's pioneering cinematic concepts actually inspired other abstract films by Ruttmann and others, including writer, translator, filmmaker and critic Liu Na'ou (1905–1940), whose The Man Who Has a Camera (1933) pays explicit homage to Vertov's Man with a Movie Camera."Rhythmic movement, the city symphony and transcultural transmediality: Liu Na'ou and The Man Who Has a Camera (1933)", Ling Zhang a Department of Cinema and Media Studies, The University of Chicago, Classics 305, Journal of Chinese Cinemas, vol. 9, iss. 1, 2015, pp. 42–61. Published online: 11 March 2015. {{doi|10.1080/17508061.2015.1010303}}.

Man with a Movie Camera{{'}}s usage of double exposure and seemingly "hidden" cameras made the movie come across as a surreal montage rather than a linear motion picture. Many of the scenes in the film contain people, who change size or appear underneath other objects (double exposure). Because of these aspects, the movie is fast-moving. The sequences and close-ups capture emotional qualities that could not be fully portrayed through the use of words. The film's lack of "actors" and "sets" makes for a unique view of the everyday world; one that, according to a title card, is directed toward the creation of a new cinematic language that is "[separated] from the language of theatre and literature".

{{expand section|date=August 2012}}

It was filmed over a period of about three years. Four cities — Moscow, Kiev, Kharkov and Odessa — were the shooting locations.{{cite book |author=Ian Aitken |title=The Concise Routledge Encyclopedia of the Documentary Film |url=https://books.google.com/books?id=ay5rIWCXlLsC&pg=PA602 |access-date=14 August 2013 |date=4 January 2013 |publisher=Routledge |isbn=978-1-136-51206-3 |page=602}}

Man with a Movie Camera was not always a highly regarded work. The film was criticized for both the stagings and the stark experimentation, possibly as a result of its director's frequent assailing of fiction film as a new "opiate of the masses".{{Cite web |url=http://psi416.cankaya.edu.tr/uploads/files/Screen-1977-Crofts-9-60.pdf |title=An Essay Towards Man with a Movie Camera |last=Crofts |first=Stephen |website=psi416.cankaya.edu.tr |access-date=2 December 2017}}

Vertov's Soviet contemporaries criticized its focus on form over content, with Sergei Eisenstein even deriding the film as "pointless camera hooliganism".{{cite web |url=https://www.tcm.com/this-month/article/64140 |title=Man With a Movie Camera |last=Feaster |first=Felicia |publisher=Turner Classic Movies, Inc. |access-date=3 February 2017}} The work was largely dismissed in the West as well.{{cite web |url=https://www2.bfi.org.uk//sight-sound-magazine/greatest-docs |title=Critics' 50 Greatest Documentaries of All Time |publisher=British Film Institute |access-date=3 February 2017}} Documentary filmmaker Paul Rotha said that in Britain, Vertov was "regarded really as rather a joke, you know. All this cutting, and one camera photographing another camera – it was all trickery, and we didn't take it seriously."{{cite book |url=https://books.google.com/books?id=AcfvcuHC4IIC&pg=PA99 |title=The Man With the Movie Camera: The Film Companion |page=99 |last=Roberts |first=Graham |publisher=I.B. Tauris |date=2000 |isbn=1860643949}} The pace of the film's editing – more than four times faster than a typical 1929 feature, with approximately 1,775 separate shots – also perturbed some viewers, including The New York Times{{'}} reviewer Mordaunt Hall:{{cite web|url=https://www.rogerebert.com/reviews/great-movie-man-with-a-movie-camera-1929|title=Man with a Movie Camera|author=Roger Ebert|date=1 July 2009|work=Chicago Sun-Times|access-date=10 March 2016}} "The producer, Dziga Vertov, does not take into consideration the fact that the human eye fixes for a certain space of time that which holds the attention."

Man with a Movie Camera is now regarded by many as one of the greatest films ever made, ranking 9th in the 2022 Sight & Sound poll of the world's best films. In 2009, Roger Ebert wrote: "It made explicit and poetic the astonishing gift the cinema made possible, of arranging what we see, ordering it, imposing a rhythm and language on it, and transcending it."{{cite web |url=http://www.bfi.org.uk/films-tv-people/4ce2b6a21d217 |archive-url=https://web.archive.org/web/20160211224633/http://www.bfi.org.uk/films-tv-people/4ce2b6a21d217 |url-status=dead |archive-date=11 February 2016 |title=Man with a Movie Camera (1929) |publisher=British Film Institute|access-date=3 February 2017}} The National Oleksandr Dovzhenko Film Centre placed it in 2021 at number three of their list of the 100 best films in the history of Ukrainian cinema.

{{RT prose|score=98|count=40|average=9.10|consensus=Groundbreaking in its exploration of the medium, Man with a Movie Camera is proof that cinema in and of itself can be a source of grand entertainment and sociological value.|ref=yes|access-date=February 18, 2023}} {{Metacritic film prose|score=96|count=16|access-date=February 18, 2023}}{{Cite Metacritic |id=man-with-a-movie-camera |type=movie|title=Man with a Movie Camera|access-date=February 18, 2023}}

Man with a Movie Camera has been interpreted as an optimistic work.{{cite news |url=http://www.irishtimes.com/culture/film/man-with-a-movie-camera-review-power-to-the-people-1.2302290 |title=Man with a Movie Camera review: power to The People |last=Brady |first=Tara |newspaper=The Irish Times |date=30 July 2015 |access-date=3 February 2017}} Jonathan Romney called it "an exuberant manifesto that celebrates the infinite possibilities of what cinema can be".{{cite news |url=https://www.theguardian.com/film/2015/aug/02/man-with-a-movie-camera-review-pure-cinema-unparalleled |title=Man with a Movie Camera review – pure cinema, still unparalleled |last=Romney |first=Jonathan |newspaper=The Observer |date=2 August 2015 |access-date=3 February 2017}} Peter Bradshaw of The Guardian wrote that the work "is visibly excited about the new medium's possibility, dense with ideas, packed with energy: it echoes Un Chien Andalou, anticipates Vigo's À propos de Nice and the New Wave generally, and even Riefenstahl's Olympia".{{cite news |url=https://www.theguardian.com/film/2015/jul/30/man-with-a-movie-camera-review |title=Man with a Movie Camera review – visionary, transformative 1929 experimental film|last=Bradshaw |first=Peter |newspaper=The Guardian |date=30 July 2015 |access-date=3 February 2017}}

The film, originally released in 1929, was silent and accompanied in theaters with live music. It has since been released a number of times with different soundtracks:

• 1983 – A new composition{{YouTube|tyhwkPzxr3o|Man with a Movie Camera (Un Drame Musical Instantané), 01:06, 1929}}. was performed by Un Drame Musical Instantané, based on Vertov's writings, among which was his Ear Laboratory. Electronic sounds, ambiences, voices were mixed to the 15-piece orchestra. An LP was issued in 1984 on Grrr Records.{{cite web |url=http://www.drame.org/2/Musique.php?D=13&LA=EN |title=Un drame musical instantané, à travail égal salaire égal |work=drame.org |access-date=10 March 2016}}
• 1993 – French composer Pierre Henry, known as a pioneer of musique concrète, created a soundtrack for the film.{{IRCAM work|id=22229|title=L'homme à la caméra}}
• 1995 – A new composition was performed by the Alloy Orchestra of Cambridge, Massachusetts, based on notes left by Vertov.{{Cite web |url=http://www.alloyorchestra.com/films.html |title=Orchestra Current Touring Repertoire |access-date=13 November 2009 |archive-url=https://web.archive.org/web/20091203083827/http://www.alloyorchestra.com/films.html |archive-date=3 December 2009 |url-status=dead}} It incorporates sound effects such as sirens, babies crying, crowd noise, etc. Readily available on several different DVD versions.{{YouTube|7ZkvjWIEcoU|Man with a Movie Camera (Alloy Orchestra), 01:06:40, 1929}}
• 1996 – Norwegian composer Geir Jenssen (aka Biosphere) was commissioned by the Tromsø International Film Festival to write a new soundtrack for the movie, using the director's written instructions for the original accompanying piano player. Jenssen wrote half of the soundtrack, turning the other half to Per Martinsen (aka Mental Overdrive). It was used for the Norwegian version {{lang|no|Mannen med filmkameraet}} at the 1996 TIFF.{{cite web |title=tiff1996 |url=http://www.tiff.no:80/tiff1997/tiff1996.htm |website=Tromsø International Film Festival |access-date=1 October 2017 |archive-url=https://web.archive.org/web/20051215213048/http://www.tiff.no/tiff1997/tiff1996.htm |archive-date=15 December 2005 |location=Internet Archive |language=no |url-status=dead }} This version of the film has not been re-released elsewhere, but the soundtrack was released separately with Jenssen's contributions on Substrata 2 in 2001 and Martinsen's on an album of the same name in 2012.{{cite web |title=Man with a movie camera (Mini-album) |url=https://mentaloverdrive.bandcamp.com/album/man-with-a-movie-camera-mini-album |website=Mental Overdrive Bandcamp page |publisher=Bandcamp |access-date=1 October 2017}}
• 1999 – In the Nursery band made a version,[http://www.inthenursery.com/mwmc.html Man with a Movie Camera" score by In the Nursery]. {{webarchive |url=https://web.archive.org/web/20060324001253/http://www.inthenursery.com/mwmc.html |date=24 March 2006 }} for the Bradford International Film Festival. Currently available on some DVD versions, often paired with the Alloy Orchestra score as an alternate soundtrack.
• 2001 – Steve Jansen and Claudio Chianura recorded a live soundtrack for a showing of the film at the Palazzina Liberty, in Milan on 11 December 1999. This was subsequently released on CD as the album Kinoapparatom in 2001.{{citation needed|date=July 2022}}
• 2002 – A version was released with a soundtrack composed by Jason Swinscoe and performed by the British jazz and electronic outfit The Cinematic Orchestra (see Man with a Movie Camera (The Cinematic Orchestra album)). Originally made for the Porto 2000 Film Festival. It was also released on DVD in limited numbers by Ninja Tune.
• 2002 – A score for the film by Michael Nyman was premiered performed by the Michael Nyman Band on 17 May 2002 at London's Royal Festival Hall. A British Film Institute DVD of the film was released with Nyman's score. This score is readily available on several different DVD editions. It has not been issued on CD, but some of the score is reworked from material Nyman wrote for the Sega Saturn video game Enemy Zero, which had a limited CD release, and Nyman performs a brief excerpt "Odessa Beach" on his album The Piano Sings.
• 2003 June – American multi-theremin ensemble The Lothars performed a semi-improvised soundtrack accompanying a screening of the film at the Coolidge Corner Theatre in Brookline, Massachusetts. They repeated their performance three years later, in December 2006 at the Galapagos Art Space in Brooklyn, New York.{{citation needed|date=July 2022}}
• 2006 Absolut Medien, Berlin, released a DVD with the 3 soundtracks from Michael Nyman, In the nursery, and a new soundtrack from Werner Cee.{{citation needed|date=July 2022}}
• November 2007 – France based group Art Zoyd presented a scenic{{clarify|date=September 2020}} version of the film with an additional video by artist Cecile Babiole. A studio recording of the soundtrack was released on CD in 2012.[http://www.artzoyd.net/2011/06/nouveau-double-cd-eyecatcher-lhomme-a-la-camera/ Eyecatcher/Man with a Movie Camera]. {{webarchive |url=https://web.archive.org/web/20110913215543/http://www.artzoyd.net/2011/06/nouveau-double-cd-eyecatcher-lhomme-a-la-camera/ |date=13 September 2011 }}
• 2008 – Norwegian electronic jazz trio Halt the Flux performed their interpretation of the soundtrack[{{cite web |url=http://vids.myspace.com/index.cfm?fuseaction=vids.individual&videoid=58363970 |archive-url=https://archive.today/20120715173405/http://vids.myspace.com/index.cfm?fuseaction=vids.individual&videoid=58363970 |url-status=dead |archive-date=15 July 2012 |title=Featured Content on Myspace |work=Myspace |access-date=10 March 2016}} at the Bergen International Film Festival.
• October 2008 – London based Cinematic Orchestra undertook a show featuring a screening of Vertov's film, which preceded the re-issue of the Man With A Movie Camera DVD, in November.{{citation needed|date=July 2022}}
• 30 November 2008 – American Tricks of the Light Orchestra accompanied a screening of the film on Sunday at Brainwash Cafe in San Francisco.{{citation needed|date=July 2022}}
• July 2009; Mexican composer Alex Otaola performed a new soundtrack live at Mexico's National Cinematheque, aided by the "Ensamble de Cámara/Acción".{{citation needed|date=July 2022}}
• 2009 – The American Voxare String Quartet performed music by Soviet Modernist composers to accompany a screening of the film.{{citation needed|date=July 2022}}
• August 2010 – Irish instrumental post-rock band 3epkano accompanied a screening of the film with an original live soundtrack in Fitzwilliam Square in Dublin{{cite news |last=O'Dwyer |first=Davin |title=3epkano Cinema in the Park |url=http://www.ireland.com/entertainment/events/3epkano-cinema-in-the-park/501109 |newspaper=The Irish Times|access-date=7 August 2013 |archive-url=https://web.archive.org/web/20100801034901/http://www.ireland.com/entertainment/events/3epkano-cinema-in-the-park/501109 |archive-date=1 August 2010}}
• July 2010 – Ukrainian guitarist and composer Vitaliy Tkachuk performed his own soundtrack for the film, with his quartet, at a Ukrainian silent cinema festival "Mute Nights" in Odesa, the city where this movie was made.{{Cite AV media |url=https://www.youtube.com/user/vitgit#grid/user/7F2E7622AEFBEE5B |title=vitgit |access-date=10 March 2016 |via=YouTube}}
• 20 May 2011: The French pianist Yann Le Long, the violoncellist Philippe Cusson and the percussionist Stéphane Grimalt performed, for the first time, the soundtrack written by Le Long for the film at the Centre Culturel du Vieux Couvent, Muzillac, France.{{citation needed|date=July 2022}}
• March 2014: Sarodist, beat maker, and multi-instrumentalist composer James Whetzel performed live a 51-piece new all-original soundtrack to Man with a Movie Camera at SIFF Cinema Uptown in Seattle, WA, USA. Soundtrack features sarod, electric sarod, analog synthesizers, accordion, mandolin, bass, guitar, dhol, dholak, darbouka, bendir, rumba box, electronic drums, and 41 other pieces of percussion. Whetzel successfully completed a Kickstarter project for the soundtrack in July.{{citation needed|date=July 2022}}
• 2014 – Spanish band Caspervek Trio premiered a new soundtrack for the film at La Galería Jazz Club, Vigo, with further performances in Gijón, Ourense and Sigulda (Latvia).{{Cite web |title = Koncertzālē "Baltais flīģelis" uzstāsies "Caspervek Trio" |url = http://www.sigulda.lv/public/lat/jaunumi/10256/ |website = www.sigulda.lv |access-date = 2 January 2016}}
• September 2014: Swedish indie rock band bob hund premiered a new soundtrack at Cinemateket in Stockholm, with subsequent performances in Helsinki, Luleå, Gothenburg and Malmö.{{Cite web |title = Bob Hund – Mannen med filmkameran |url = https://www.facebook.com/events/1421457504771133 |website = Cinemateket |access-date = 23 August 2016}}
• 2016 – Donald Sosin, John Davis and others performed their collaborative score at the Museum of the Moving Image, Astoria, New York.{{Cite web |date=2016 |title='See It Big' Film Series Features Twenty Classic And Contemporary Documentaries: January 29–February 21, 2016 |url=http://aws.reverseshot.com/files/pages/about/see_it_big_documentary_20160120.pdf |access-date=1 August 2022 |website=Museum of the Moving Image}}
• 2022 – SilentFilmDJ D'dread performed a live DJ Set to a AI colored version of the film for at.tension Festival, Lärz, Germany.{{Cite web |title=at.tension #9 Theaterfestival |url=https://www.attension-festival.de/en/programme |access-date=2022-10-22 |website=www.attension-festival.de}} The film with the DJ Soundtrack is released via YouTube{{Citation |title=Man with a Movie Camera #1929 1080p color - live Dj Soundtrack #DzigaVertov | date=30 September 2022 |url=https://www.youtube.com/watch?v=7kXmV0UPG0w |language=en |access-date=2022-10-22}}
• 2022 - Austin based indie chamber music group Montopolis is currently touring performing a new live score to accompany the film.{{Cite web |date = 2023 |url=https://www.montopolismusic.com/ |title=HOME Montopolis| access-date=14 May 2023}}
• 2024 - Los Angeles composer, Alexander Tovar, conducted a sold out performance at the Cats Crawl in East Hollywood with the Orchid Quartet Collective with Michael Sobie scored for piano quintet.{{Cite web |title=Tovar In Concert |url=https://www.alexandertovar.com/inconcert |access-date=2024-03-09 |website=Tovar Site |language=en}}

{{notelist}}

• List of films considered the best

{{reflist}}

• {{cite book|editor-last=Michelson|editor-first=Annette|editor-link=Annette Michelson|title=Kino-Eye – The Writings of Dziga Vertov|translator=Kevin O'Brien|publisher=University of California Press|year=1995}}

• John MacKay, "Man with a Movie Camera: An Introduction" [https://www.academia.edu/4090580/_Man_with_a_Movie_Camera_An_Introduction_]
• Feldman, Seth R. Dziga Vertov. A Guide to References and Resources. Boston: G. K. Hall, 1979.
• Devaux, Frederique. L'Homme et la camera: de Dziga Vertov. Crisnée, Belgium: Editions Yellow Now, 1990. {{OCLC|25136970}}
• Nowell-Smith, Geoffrey. The Oxford history of World Cinema. Oxford; New York: Oxford University Press, 1996.
• Roberts, Graham. [http://www.ibtauris.com/Books/The%20arts/Film%20TV%20%20radio/Films%20cinema/The%20Man%20with%20the%20Movie%20Camera.aspx The Man With the Movie Camera]. London: I. B. Tauris, 2000.
• Tsivian, Yuri. Lines of Resistance: Dziga Vertov and the Twenties. Edited and with an introduction by Yuri Tsivian; Russian texts translated by Julian Graffy; filmographic and biographical research, Aleksandr Deriabin; co-researchers, Oksana Sarkisova, Sarah Keller, Theresa Scandiffio. Gemona, Udine : Le Giornate del cinema muto, 2004.
• Manovich, Lev. [http://www.newmediareader.com/book_samples/nmr-intro-manovich-excerpt.pdf "Database as a Symbolic Form"]. Cambridge: MIT Press, 2001.
• Richard Bossons, [https://richardbossons.academia.edu/research "Notes on Neglected Aspects of Man with a Movie Camera"], 2021
• Petrić, Vlada, Constructivism in Film: The Man With the Movie Camera. New York: Cambridge University Press, 1988; second edition 1993; revised edition 2011.

{{Commons category|Man with a Movie Camera (film)}}

• {{IMDb title|0019760}}
• {{Rotten Tomatoes|man_with_a_movie_camera}}
• [http://arquivo.pt/wayback/20090705150545/http://www.silentsaregolden.com/DeBartoloreviews/rdbmanwithmoviecamera.html Man With a Movie Camera] on the Reviews of the Rare and Obscure, by John DeBartolo
• [http://www.rouge.com.au/9/vertov_storyboard.html Man With a Movie Camera] – Roland Fischer-Briand on the film's storyboard
• [http://dziga.perrybard.net Man With a Movie Camera: The Global Remake] {{Webarchive|url=https://web.archive.org/web/20110501132451/http://dziga.perrybard.net/ |date=1 May 2011 }} participatory video inviting people globally to record images interpreting the original script of the original Vertov film

• {{YouTube|64jLxgCWukY|Man with a Movie Camera}}
• {{Internet Archive film|id=ChelovekskinoapparatomManWithAMovieCamera}}
• [https://www.justwatch.com/us/movie/man-with-a-movie-camera Man with a Movie Camera] on JustWatch

• {{discogs master|17679|Man with a Movie Camera {{noitalic|(Cinematic Orchestra version film)}}}}
• {{discogs master|17671|Man with a Movie Camera {{noitalic|(Cinematic Orchestra version album)}}}}
• [http://www.discogs.com/lists/Soundtracks-for-Dziga-Vertovs-Man-With-A-Movie-Camera/25435 Man with a Movie Camera (alternative soundtracks)] on Discogs

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