This paper describes how, while working within the most innovative period in Soviet cinema, before the coming of sound, Dziga
Vertov created the film "Man with a Movie Camera", a tribute to the newly formed Communist State, urban environments and technological advancement. It analyzes how in order to create a variety of themes, including those comparing the bourgeois and working classes, man and
machinery and the nature of film itself, Vertov uses editing to relate a series of seemingly unrelated shots. It looks at how these shots are comprised of five types of images: industrial construction, traffic, machinery,
recreation and citizen-workers. It also shows how he constructs meaning through editing in the film to form an argument in favour of the newly formed soviet state by juxtaposing disjunctive images, but also linking the images through composition.