A Man With A Movie Camera Analysis

Soviet Cinema were established between the years 1917 to 1953. This was a time of transition and great development in the film industry. Soviet Cinema focused on creating films that dealt with political and ideological ideas that arose during those times. A Man with a Movie Camera was released in 1929. This film became revolutionary in the way it used techniques of film editing such as; constructive/linkage editing and intellectual montage and how it helped narrate the story without a storyline. This essay will discuss how the film uses these two techniques, in reference to the film, and to what ideological and political ends are the techniques used in the films with specific references from the film to support the argument.
A Man with a Movie Camera is based around one man who travels around the city to capture various moments and everyday

In the article, Eisenstein: ‘Intellectual Montage’, Poststructuralism, and Ideology’ written by Jason Lindop, he explains that montage can be seen as ‘a central concern in these works us how a series of images can, when correctly composed by the filmmaker and then interrupted by the viewer, produce and abstract concept not strictly present in each of the composite images.’ (Lindop, 2007). Intellectual montage is when we see different images that are different to each other but can be connected in the conveying of meaning and a metaphor that can be visually seen. In another article written about A Man with a Movie Camera, Eisenstein states its ‘different forms ‘Cinema of Attraction’ and experimented with a form of film editing which attempted to produce the greatest emotional response in a viewer by conflicting two different shots side created by juxtaposition.’ (“Man with the…”,