A Brief Introduction to the Story of The Man with the Camera

The Man with the Camera is a work with strong documentary and fuzziness. This carefully edited documentary is an intuitive expression of Wiltoff's "movie eye" theory. It has no scenery, no subtitles and no props for actors. The film presents a careful layered structure: on the surface, it is an urban symphony that records the ordinary life of the Soviet working people, while the inner layer tells how the camera records life and how the photographer shoots clips. The surface symphony of the city can be divided into the overture of the audience, the dawn of the city, the hard work of the working people and the rest and artistic practice after work. In the internal structure, the process of recording the real society through the "movie eye", that is, the camera, is described from the moment when the person with the camera walks out of the door with the camera. The great significance of movies lies not only in recording the real life scenes of a city in an era, but also in the value realized by the combination of theory and technology. Technically, the film has created editing techniques such as split screen and secondary exposure; Theoretically, it creates a "self-exposure" shooting technique, that is, the photographer appears in the film. So this movie is a great work.

This film is a film that records the ordinary life of working people in the former Soviet Union, and it is also a film about how cameras record and the work of photographers and editors. Basically, it can be divided into the prelude to the audience's attendance, the dawn of the city, the hard work of the working people during the day, the rest and artistic practice after the people's labor. The film was shot after the Soviet revolution, with a strong Marxist class view.