Dziga Vertov's manifesto-on-celluloid was made to argue that the camera alone — without actors, plot, intertitles, or studios — could produce a totally new kind of cinema. Almost a century later it still feels radical, especially when paired with the various modern scores composed for its re-releases.
Vertov\'s wordless symphony of a Soviet city is the original argument that cinema can think — every cut is an essay, every superimposition a thesis.
Vertov's exhilarating city symphony is a manifesto for what the camera alone can do — pure cinema showing off everything it had learned.
