Abstract
This chapter discusses the uneasy relationship between theory and with the help of a very famous movie, which for quite some time, since its rediscovery in the West in the 1970s, has been an object of film critics' attention and analysis. Thus it is also an attempt to bridge history with cultural studies. The movie in question is Dziga Vertov’s “Man with a Movie Camera”. The author struck by the fact that Vertov’s critics and interpreters did not seem to notice the very obvious fact that the inscriptions in the movie are not in the same language. If one group these inscriptions according to the language used they may provisionally come up with the three more or less obvious categories: Foreign-language; Russian-language; and Ukrainian-language. The setting is a shooting range: on the surface, a setting defined by ideology, but also a classical locus of Soviet popular culture. Keywords: Dziga Vertov; foreign-language; Man with a Movie Camera; Russian-language; Soviet popular culture; Ukrainian-language
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