The life of the characters in Wiltoff's novels

1922 after the war subsided, a large number of western feature films appeared on Soviet film posters. Wiltoff is disgusted with these fictional films, thinking that they are cheap substitutes for life, and like religion, they are opium that paralyzes people. At this time, Wiltoff began to make a declaration in the name of "Troika", in which he said, "The body of the film has been anesthetized by poison habits. We need an opportunity to do an experiment on this dying body and find a good antidote. " Wiltoff's three-member committee is actually a family film group, and its members are Wiltoff, his wife Svilova and his brother Mikhail Kaufman. 1922 in may, a three-member team founded "Kino-Pravda", a monthly news magazine, which occasionally produced one or two documentaries with feature length and sent them to various places for screening by train. The name "Movie Pravda" comes from the Pravda founded by Lenin in 19 12, which declared Wiltoff's film idea: proletarian films must be based on reality.

The film Pravda was shown until 1925. During these three years, the three-person team worked in the basement where rats were swarming. Wiltoff's wife is in charge of editing, his younger brother Mikhail is in charge of photography, and Wiltoff himself is the commander in chief. Mikhail is a photographer and carries a camera from morning till night. He never asks the permission of the subject, and often hides in a hidden corner to shoot activities in markets, factories, schools, hotels and streets. This is an era full of vitality and hope. Photographers and directors can find endless content in their lives without deliberate arrangement. Camera has become the witness of the times and the eye of life. At the same time, a new term "movie eye" is gradually brewing. With the passage of time, the scale of the "three-member Committee" has been expanding and its supporters have increased. At this time, the "Kenokee Team" was established. 1923 In July, Wiltoff published his famous declaration "Movie Eyes: A Revolution". Wiltoff always wanted this movie to have sound. Based on his theory of "movie eyes", his lyric documentary has become a kind of visual music. In this kind of film, he often adds a symphony commentary or a montage of noise and sound. This practice of separating the picture from the language is almost the general rule of documentary, until today.

After shooting the Donbass Symphony (193 1), Wiltoff shot an outstanding work-three songs about Lenin (1934). In order to make this film, he collected all the films and records about the great politician who died, and edited them in the second song with excellent montage. The third song describes the construction of socialism and is full of beautiful lyrical sentiment. The first part is a folk song in Central Asia, which is the most successful episode. It depicts the liberation of the former colonial people through a very vivid image and sense of rhythm, and clearly shows the theme of the whole film stipulated by the author, that is, "the whole process from past to future, from slave life to free life."

With the appearance of audio movies, Wiltoff combined the "movie eyes" and "broadcast ears" he advocated from 1922, forming a montage of audio-visual counterpoint. Although he refused to express his personal hero, he was able to turn the public into personalized heroes on various themes. However, after "Lullaby" (filmed in 1937), his theory was severely criticized, so that only a few films were taken as tasks before his death.