Religious context in the manifestos of the films “We” and “Kinoki. The Revolution”

The article examines the problem of Dziga Vertov’s self-identification as an avant-garde artist, analyzed in terms of the “religiosity” of his programmatic journalistic texts. Based on the material of the kinok manifestos “We” and “Kinoki. The Revolution”, as well as some of Vertov’s poetic works, reveals the avantgarde's characteristic desire to present the world in the categories and images of Christianity, defines Vertov's revolutionary interpretation ofsuch concepts as Eden, Epiphany, the all-seeing Eye, the Holy Trinity, etc. As a result of the analysis of the texts, conclusions are drawn about the radical differences between Vertov’s theocratic cosmogony and the biblical-evangelical one, and the evolution of the relationship between the artist and the “communist religion” is traced.