Part 1
In the film, editing creates graphic relationships between shots when juxtaposing shots in such a way that their composition graphically matches. In the movie, Vertov’s makes an introductory reference projected towards the match cut editing technique by alternating the cuttings of the shots while maintaining action continuity using geometrical similarities. For instance, in the film, the viewers are shown a number of streets, which according to the editor match with the escalation doorways while on the other hand, a sleeping woman, complimented by what the viewers view as a man shushing with his finger.
In the film, editing creates rhythmic relationships between shots that include continuity-based cuttings that establish visual continuity through the editorial stages. In the movie, the sequence occurs at the end of the film. On the other hand, editing further create spatial or temporal relationships between shots which plays an important role in orienting the audience to a particular environment especially when introducing an important character. In the movie, Man with a Movie Camera, the editor uses this technique at the beginning of the movie with an extreme long shot of the countryside where the film was shot.
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Part 2
The use of the “kino-eye” technique also known as eye fusion emphasizes the concepts of industrialization as well as mechanization. There is a fusion of human and machines a reality of the industrialization period. The highlight of the textile industry through telling juxtaposition explains the development in material production. Further, Vertov’s stationing of film-as-production embedded in cyclical as well as parallel structure alongside emphasize on simultaneous revolutions that the industrial wheels have experienced establishes a relation between the film production and other labor sectors.
Vertov captures the pace of the industry by first highlighting the empty theatre but as the day progresses images of a full arena with the audience watching the film appear depicting the speed of the sector. The sequence starts with morning then moves to the working day and ends with the evening recreation. There is a poser in the film, mainly where a horse was galloping on the track. Vertov used a carriage to ride alongside the horse and then he slowed down the frame rate that depicted the horse galloping in slow motion.
Part 3
Notably, Vertov draws parallels between social production that relies on human labor and cinematic output in the visual field. Particularly, the depiction of the empty theatre images implying the morning hours then a filled theatre by evening suggests that the people have gone to industries to offer their labor in exchange for financial returns. For instance, the use of the long shot at the beginning of the film enables Vertov to express his thoughts on the issue of industrialization. Therefore, viewers can tell that at the beginning that the country was yet to industrialize. The use of sequence at the end of the movie relates to the pace at which the industry was growing during the industrialization period.
