This chapter continues my interest in the urban pedestrian acts of the working class by shifting the focus to Soviet avant-garde filmmaker Dziga Vertov and his seminal documentary Chelovek s kinoapparatom (Man with a Movie Camera, 1929). Although today Vertov is considered a major auteur and belongs to the mainstream of film history, his work was systematically neglected and avoided for a long time under the Stalinist climate in the Soviet Russia and beyond. Annette Michelson reminds us that until 1970, Man with a Movie Camera was unavailable for all practical and critical purposes in the West. Adelheid Heftberger stresses that the systematic studies on Vertov first appeared in Russia in the 1960s, in the era following Stalin's death. The growing accessibility and spread of Vertov's work stimulated interest in his documentary theory and practice, especially in activist filmmaking movements. The radical film aesthetics of groups as varied as the Workers Film and Photo League in the United States, cinema verité (the French translation of Kino-Pravda) in 1960s France, and the French Dziga Vertov Group in the 1970s all took inspiration from his film theory and praxis. Vertov and his contemporary Soviet avant-gardists have also been a major influence on the new waves such as Cinema Novo and Third Cinema. Taking the camera to the streets to achieve a direct observation of everyday life, and the use of montage to reveal the hidden economic, social, and political structures that underlie the everyday, were common techniques of the radical film aesthetics of these movements, which sprouted up in the context of zeitgeist of anti-colonial and anti-imperialist liberation movements in the 1960s.