pioneeredaspects of life and portray the reality of how society functions in everyday life.

A major technique also utilised is that the viewer is always aware in some way or another of the presence of the camera man, that is "the man with a movie camera", as the film is appropriately titled.

This film functions as "a spectacular piece of avant-garde art and a time-capsule of Soviet urban life in the 1920s" (Kizirian, 2017). Using film to capture the current time, place and  contextual climate of the world. My context being life in isolation and Covid-19 Lockdown.

Vertov deliberately abandons the fictions and fantasies of theatre and film, only to portray the realistic and the non-staged perspective of life.

The viewer is presented with a deliberately fast paced and confusing sequence of shots that are "to move with the speed of our minds" (Ebert, 2009). A series of fast paced Images, scenes and subjects to portray the world around us.

Vertov focused on everyday subjects, such as doorways, stairwells, roads, cars, people and sidewalks.

This is the first edited attempt at the film. Changes may occur pending my interim submission and feedback.

This film is to capture the world through a unique way, that being watching the world through unconventional scopes, such as through a door's peep hole, a window watching the street or through the shaded branches of a park viewing the bay. I wish to capture the natural movement of the world, where the human movement used to be so prevalent, prior to the pandemic. Never will this film show actual people, only the places to where they stood in the isolated world of lockdown, where mechanical and human movement once was. Now it shall only show the movement of nature of seemingly "people-less" vehicles.

Vertov, D. (Director). (1929). Man With a Movie Camera. [film] VUFKU.

Drew, R. (Director). (2021). A Man and a Pandemic. [Film]. Rowan M Drew