In the late 1920s Soviet ﬁ lmmaker Dziga Vertov made a strong argu-
ment, in words and through his ﬁ lms, for editing being a means of
showing the truth of the movement of the world:
If one is concerned with physical rhythm, one is concerned, as Vertov
proclaims above, with “meaningful rhythmic visual order, ” not as a
means to something else but as a revelation in and of itself.