 Shub’s extensive efforts and technical approach to filmmaking reveal her technological, political, artistic expertise.Sergei Emolinsky, a constructivist critic associated with Soviet art journal, LEF, praises both Shub and Vertov equally for their different attitudes towards documentary film.He explains that while, “Vertov ‘threw himself on the given material, cutting it into numerous pieces, thus subordinating it to his imagination…Shub regarded each piece [shot] as to a self-sufficient, autonomous entity’.” This first-hand critique of the two methods indicate that Shub’s dedication to journalistic cinematography was the catalyst for what documentary film classifies today, compilation film.