WE: Variant of a Manifesto (USSR, 1922)

Vertov’s manifesto charts a different path from those of his Soviet contemporaries, focusing on the documentary. Like the futurists before him, Vertov argued for a pure cinema, a break away from the “cinematographers” who drew on theater traditions and told stories, and for the creation instead of a scientifi c cinema, so that humanity could become as fi nely tuned as what Hollis Frampton would later call the “cinema machine” itself. Like many who follow, Vertov calls for the death of cinema, so that it can be reborn anew.