In “Database as a Symbolic Form,” Lev Manovich notes in Dziga’s Vertog Man with a Moving Camera, “Vertov’s goal is to seduce us into his way of seeing and thinking, to make us share his excitement, his gradual process of discovery of film’s new language.” It could be my affinity towards old silent films, but I very much felt that contagious level of child-like excitement of documenting and exploring the world. The still below effectively dives into that process, showing the length that the man with the moving camera goes through to get his shot. In filming him dangling on the edge of a moving car, you get the same feeling of exhilaration that a classic car chase scene might elicit. While the film doesn’t have a cast of characters that a viewer develops empathy with, Vertog still effectively forces the viewer into the role of identifying with the man with the moving camera… or maybe that just happens when the viewer is one who loves to document the world.
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