维托夫在他多产的文章中阐述了他的核心理念,即捕捉所谓的“电影真理”:将实际生活的片段组织在一起,形成肉眼无法看到的更深层次的真理。在《电影真理报》系列中,维托夫专注于日常经历,避开了资产阶级的关注点,转而拍摄市场、酒吧和学校,有时甚至使用隐藏的摄像机,进行未经许可的拍摄。《电影真理》的每一集通常都不包括重演或舞台表演。(唯一的例外是关于1922年社会革命党受审(英语:Trial of the Socialist Revolutionaries)的片段:街头卖报纸的场景和人们在电车上读报纸的场景都是为摄像机准备的。)摄影风格简单、实用、不加修饰——这或许反映了维托夫对“美”和“虚构的宏大”缺乏兴趣。在三年内,共制作了二十三期,每期约二十分钟,通常涵盖三个主题。这些故事通常是描述性的,而非叙事性的,包括小插曲和揭露,例如电车系统的翻修、农民组织成公社,以及社会革命党人受审;其中一个故事展示了新生共产主义国家的饥荒。尽管电影里也有政治宣传的成分,但却显得低调,例如关于机场建设的一集中:一个镜头显示了沙皇的坦克帮助准备地基,字幕写著“劳动前线上的坦克”。
Kendall, Matthew. Boisterous Utopia: Soviet Sonic Culture and Dziga Vertov's. The Russian Review: An American Quarterly Devoted to Russia Past and Present. Vol. 81, 2022.
MacKay, John. Allegory and Accommodation: Vertov's Three Songs of Lenin (1934) as a Stalinist Film. Ioffe, Dennis; White, Frederick (编). Russian Avant-Garde and Radical Modernism: An Introductory Reader. Academic Studies Press. 2012: 420. ISBN 9781618111425.
Natascha Drubek-Meyer, Natascha. Griffiths und Vertovs Wiege. Dziga Vertovs Film 'Kolybel'naja' (1937).. Frauen und Film. 1994, 54/55: 31–51. JSTOR 24058286.
Natascha Drubek-Meyer; Murasov, Jurij, Rhapsodie und Apparatur. Zu den Filmen des Dziga Vertov. Frankfurt a.M. 1999.
Ellis, Jack C. The Documentary Idea: a Critical History of English-Language Documentary Film and Video. Prentice Hall, 1989.
Feldman, Seth. "'Peace between Man and Machine': Dziga Vertov's The Man with a Movie Camera." in: Barry Keith Grant, and Jeannette Sloniowski, eds. Documenting the Documentary: Close Readings of Documentary Film and Video. Wayne State University Press, 1998. pp. 40–53.
Feldman, Seth. Evolution of style in the early work of Dziga Vertov. 1977, Arno Press, New York.
Graffy, Julian; Deriabin, Aleksandr; Sarkisova, Oksana; Keller, Sarah; Scandiffio, Theresa . Lines of Resistance: Dziga Vertov and the Twenties; edited and with an introduction by Yuri Tsivian. Le Giornate del cinema muto, Gemona, Udine
Heftberger, Adelheid. Kollision der Kader. Dziga Vertovs Filme, die Visualisierung ihrer Strukturen und die Digital Humanities. Munich: edition text + kritik, 2016.
Hicks, Jeremy. Dziga Vertov: Defining Documentary Film. London & New York: I. B. Tauris, 2007.
Le Grice, Malcolm. Abstract Film and Beyond. Studio Vista, 1977.
MacKay, John. "Allegory and Accommodation: Vertov's «Three Songs of Lenin» (1934) as a Stalinist Film." In Film History: An International Journal; 18.4 (2006) 376–391.
Molcard, Eva. 2020. "Elizaveta Svilova." In Jane Gaines, Radha Vatsal, and Monica Dall'Asta, eds. Women Film Pioneers Project. New York, NY: Columbia University Libraries. https://doi.org/10.7916/d8-y8we-0736
Roberts, Graham. The Man with the Movie Camera. I. B. Tauris, 2001. ISBN1-86064-394-9
Singer, Ben. "Connoisseurs of Chaos: Whitman, Vertov and the 'Poetic Survey,'" Literature/Film Quarterly; 15:4 (Fall 1987): 247–258.
Tode, Thomas & Wurm, Barbara, Austrian Film Museum, eds. Dziga Vertov. The Vertov Collection at the Austrian Film Museum, Bilingual (German-English). (Paperback – May 2006), FilmmuseumSynemaPublikationen.-- online version available here.
Tsivian, Yuri, ed. Lines of Resistance: Dziga Vertov and the Twenties. Le Giornate del Cinema Muto, 2004. ISBN88-86155-15-8
Vertov, Dziga. On Kinopravda. 1924, and The Man with the Movie Camera. 1928, in: Annette Michelson ed. Kevin O'Brien tr. Kino-Eye : The Writings of Dziga Vertov, University of California Press, 1995.
Dziga Vertov. We. A Version of a Manifesto. 1922, in Ian Christie, Richard Taylor eds. The Film Factory: Russian and Soviet Cinema in Documents, 1896–1939 Routledge, 1994. ISBN0-415-05298-X
Warren, Charles, ed. Beyond Document: Essays on Nonfiction Film. Wesleyan University Press, 1996.
DVD
Dziga Vertov's Man with the Movie Camera DVD, audio commentary track by Yuri Tsivian.
Entuziazm (Simfonija Donbassa) DVD, restored version and unrestored version plus documentary on Peter Kubelka's restoration.