The City Symphony film is a specifically avant-garde film genre emerging in 1920s，in which Ruttmann’s Berlin，Symphony of Metropolis and Vertov’s Man with a Movie Camera are in their full maturity. They turned their cameras from studios to streets，shot urban scenes of everyday life without showing their cameras，and then organized the visual materials with montage，finally constituted the city symphony films. With innovation of their film language，both films advanced the visualization of the experience of modernity，and also provided practical source for critics in their exploration of the connection between city and film. Therefore，this paper is to re-read Ruttmann and Vertov and their intentions of making the films，and then study their critical receptions’ relation to prevailing theoretical discourses of metropolis，so as to demonstrate that both films have reconstructed the metropolis and its experience，having radically changed the perception of audience，and revealed their contributions to the filmic presentation of urban modernity.