But it is not only the experience of the montage film that M. Romm uses, the techniques of Vertov are evident in his film. The two million meters of Nazi newsreels, which were the source material, were very much and at the same time very little for the picture. The man as a private person was of no interest at all to the Hitler chroniclers. In general, the people in the Nazi chronicle are divided into a crowd and a leader. A crowd of ten thousand people is a subject to be filmed. Especially if it shouts and waves its arms in greeting. An individual person is not a subject to be filmed - that law has been observed with an ironclad precision.

But it's precisely because of this that they were able to find a method for constructing the picture.

German Lavrov, the cameraman of "Ordinary Fascism", shot the auxiliary material using the Vertov method. He had to shoot what was before fascism, what was afterwards, and what was during fascism, but did not belong to it.

What was filmed? Ordinary people, children, women, men. A street crowd was filmed in which the cameraman was interested in the individual person. Scenes were filmed in Moscow, Warsaw, Berlin, Paris. It is even more important to emphasise how these scenes were filmed. Lavrov filmed them with a hidden camera. There were no pre-arranged points in the frame, tested, regulated, approved. Life in them is shown unrehearsed. This is where Vertov's method of filming life unawares came into force. In this historical film which recounted the deaths of millions of people, it is the seemingly insignificant, private aspects of human life that are important to him. The filming method employed by the director and cameraman is in contrast to that of the Nazi chroniclers.

“Ordinary Fascism" is divided into chapters. Each chapter tells a story with a beginning and an end. The chapter is an independent episode that does not formally depend on the previous one and does not subordinate the one that follows it.

The division of a work into independent episodes is a principle of the epic genre.

Фрейлих С.И. - Теория кино: От Эйзенштейна до Тарковского: Учебник для вузов
http://litresp.ru/chitat/ru/%D0%A4/frejlih-s-i/teoriya-kino-ot-ejzenshtejna-do-tarkovskogo

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