Question: Which film director won an oscar Dziga Vertov or Robert Benton?
Context: Dziga Vertov (Russian: Дзига Вертов ; born David Abelevich Kaufman, Russian: Дави́д А́белевич Ка́уфман , and also known as Denis Kaufman; 2 January 1896 – 12 February 1954) was a Soviet pioneer documentary film and newsreel director, as well as a cinema theorist.  His filming practices and theories influenced the cinéma vérité style of documentary movie-making and the Dziga Vertov Group, a radical film-making cooperative which was active from 1968 to 1972. Cinéma vérité ( ; ] ; "truthful cinema") is a style of documentary filmmaking, invented by Jean Rouch, inspired by Dziga Vertov's theory about Kino-Pravda and influenced by Robert Flaherty’s films.  It combines improvisation with the use of the camera to unveil truth or highlight subjects hidden behind crude reality. Ukraine has had an influence on the history of the cinema.  Prominent Ukrainian directors include Oleksandr Dovzhenko, Dzyha Vertov and Serhiy Paradzhanov.  Dovzhenko is often cited as one of the most important early Soviet filmmakers, as well as being a pioneer of Soviet montage theory and founding Dovzhenko Film Studios.  In 1927 Dziga Vertov moved from Moscow to Ukraine.  At the film studio VUFKU he made several avant-garde documentaries, among them «The Eleventh Year», «Man with a Movie Camera» and first Ukrainian documentary sound film «Enthusiasm (Symphony of the Donbass)».  Paradzhanov was an Armenian film director and artist who made significant contributions to Ukrainian, Armenian and Georgian cinema; he invented his own cinematic style, Ukrainian poetic cinema, which was totally out of step with the guiding principles of socialist realism. Kino-Eye (Anglophonic: Cine-Eye) is a film technique developed in Soviet Russia by Dziga Vertov.  It was also the name of the movement and group that was defined by this technique.  Kino-Eye was Vertov's means of capturing what he believed to be "inaccessible to the human eye"; that is, Kino-Eye films would not attempt to imitate how the human eye saw things.  Rather, by assembling film fragments and editing them together in a form of montage, Kino-Eye hoped to activate a new type of perception by creating "a new filmic, i.e., media shaped, reality and a message or an illusion of a message - a semantic field."  Distinct from narrative entertainment cinema forms or otherwise "acted" films, Kino-Eye sought to capture "life unawares" and edit it together in such a way that it would form a new, previously unseen truth. A Sixth Part of the World (Russian: Шестая часть мира , Shestaya Chast Mira ), sometimes referred to as The Sixth Part of the World, is a 1926 silent film directed by Dziga Vertov and produced by Kultkino (part of Sovkino).  Through the travelogue format, it depicted the multitude of Soviet peoples in remote areas of USSR and detailed the entirety of the wealth of the Soviet land.  Focusing on cultural and economic diversity, the film is in fact a call for unification in order to build a "complete socialist society".  A mix between newsreel and found footage, Vertov edited sequences filmed by eight teams of kinoks ("kinoki") during their trips.  According to Vertov, the film anticipates the coming of sound films by using a constant ""word-radio-theme"" in the intertitles.  Thanks to "A Sixth Part of the World" and his following feature "The Eleventh Year" (1928), Vertov matures his style in which he will excel in his most famous film "Man with a Movie Camera" (1929). The Kinoks ("kino-oki," meaning cinema-eyes) were a collective of Soviet filmmakers in 1920s Russia, based most notably around film editor Dziga Vertov (pseudonym Denis Kaufman).  In 1919 Vertov and his future wife, the talented film editor Elizaveta Svilova, plus several other young filmmakers created a group called Kinoks ("kino-oki," meaning cinema-eyes).  In 1922 they were joined by Mikhail Kaufman, who had just returned from the civil war.  From 1922 to 1923 Vertov, Kaufman, and Svilova published a number of manifestos in avant-garde journals which clarified the Kinoks' positions vis-à-vis other leftist groups. The Green Manuela (German: Die grüne Manuela) is a 1923 German silent drama film directed by Ewald André Dupont and starring Lucie Labass, Josef Winter and Grete Berger.  The film is based on a novel by Clara Ratzka.  A gypsy dancer becomes involved with some smugglers in Spain.  The film's plot bears a number of similarities to "Carmen".  It was the first time Dupont worked with the cinematographer Werner Brandes and the art director Alfred Junge who were to become important collaborators with him.  The poster of this movie is seen in Russian director Dziga Vertov's movie Man with a Movie Camera (1929) playing at a theater named the Proletarian.  It's a symbol of Vertov's disdain of Western fanciful films. Lewis Jacobs (1904 – February 11, 1997) was an American author, director and publisher.  Jacobs attended art school in Philadelphia and soon moved from an interest in photography to a deep interest in cinema.  Jacobs directed several experimental short films modeled after the Soviet social and political cinema and he was fond of and drew inspirations from the likes of Dziga Vertov and Hans Richter. Enthusiasm: The Symphony of Donbass [Russian: Энтузиазм: Симфония Донбасса or Entuziazm: Simfoniya Donbassa], also referred to as "Enthusiasm", "Donbass Symphony", or "The Symphony of the Donbas Basin".  "Enthusiasm" is a 1930 Soviet sound film, directed by Dziga Vertov.  Although "Enthusiasm" is not one of Vertov's more popular films, such as Man with a Movie Camera, the film was the director's first sound film and also the first sound film of the Soviet production company Ukrainfilm.  The film is also notable for the fact that it is a documentary filmed on location.  Like many of his other films, Vertov worked on "Enthusiasm" with his wife Elizaveta Svilova. Robert Douglas Benton (born September 29, 1932) is an American screenwriter and film director.  He won the Oscars for Best Adapted Screenplay and Best Director for "Kramer vs. Kramer" (1979) and won a third Oscar for Best Original Screenplay for "Places in the Heart" (1984).
Answer: Robert Douglas Benton