ABSTRACT
Nowadays the film actor is usually both biologically and socially the ideal of his audience and substituting a passer-by for the actor would mean retreating from industrialisation.
I do not reject the magnificent work done by Dziga Vertov. I only reject the places where he uses large print. It is not work with a casual model that is valid for the selection of film form in Dziga Vertov's view but the transfer of compositional problems from the sphere of plots to the sphere of the pure confrontation of facts.
