Dziga Vertov's movies made him a unique film artist as well as a unique editor. He portrayed the Russian people in ways that could only be used through the intelligent mind of Vertov and through his creative ways of editing images that were real to the human eye. Many of these images were seen in two of his movies, A Man With A Movie Camera and Invisible Eye.
In A Man With A Movie Camera, Vertov creates a serious image of the Russian people. "It depicts a day in the life of the city framed by the experience of cinema, but it also about the role of cinema in society" (Beller, 1993, p. 301). Cinema becomes important in Vertov's A Man With A Movie Camera because after all life is a long movie.
While filming A Man With A Movie Camera, Vertov knew what he wanted his audience to see. He shows multiple spaces and times in Russian cities (Beller, 1993). All of these images would be portrayed in his other movies, one being Invisible Eye.
Invisible Eye created the same images as A Man With A Movie Camera. The documentary showed a relationship between the photograph and the reality soft the image (Britton, 1992). All of Vertov's movies are very similar.
Vertov's works were very similar to other artists of his time. "Like Grierson, Soviet film artist Dziga Vertov developed an aesthetic . . . more truthful and more politically responsible than fiction" (Britton, 1992, p. 28). Although Vertov created his own ideas and what the leader of Russia, Stalin and Lenin had said, his films kept up with the time.
Both movies, A Man With A Movie Camera and Invisible Eye expressed the images that were seen in Vertov's movies. Both showed reality, the reality of the Russian people through a camera. Vertov, although similar to other artists of his time, was also unique.