Editing Dziga Vertov (section)

====''Cine-Eye''====
[[File:Kino Eye (1924) by Dziga Vertov.webm | thumb | ''Kino Eye'' (1924) by Dziga Vertov]]
"Cine-Eye" is a montage method developed by Dziga Vertov and first formulated in his work "WE: Variant of a Manifesto" in 1919.

Dziga Vertov believed his concept of ''Kino-Glaz'', or "Cine Eye" in English, would help contemporary "man" evolve from a flawed creature into a higher, more precise form. He compared man unfavorably to machines: "In the face of the machine we are ashamed of man's inability to control himself, but what are we to do if we find the unerring ways of electricity more exciting than the disorderly haste of active people [...]"<ref>Vertov 1922, p. 69</ref> As he put it in a 1923 credo, "I am the Cine-Eye. I am the mechanical eye. I the machine show you the world as only I can see it. I emancipate myself henceforth and forever from human immobility. ''I am in constant motion...'' My path leads towards the creation of a fresh perception of the world. I can thus decipher a world that you do not know."<ref>{{Cite book|title=The film factory : Russian and Soviet cinema in documents|date=1994|publisher=Routledge|others=Taylor, Richard, 1946–, Christie, Ian, 1945–|isbn=041505298X|location=London|pages=93|oclc=32274035}}</ref>

Like other Russian filmmakers, he attempted to connect his ideas and techniques to the advancement of the aims of the [[Soviet Union]]. Whereas [[Sergei Eisenstein]] viewed his [[montage of attractions]] as a creative tool through which the film-viewing masses could be subjected to "emotional and psychological influence" and therefore able to perceive "the ideological aspect" of the films they were watching, Vertov believed the [[Kinoks|Cine-Eye]] would influence the actual evolution of man, "from a bumbling citizen through the poetry of the machine to the perfect electric man".<ref>Vertov 1922, pp. 69–71</ref>

Vertov surrounded himself with others who were also firm believers in his ideas. These were the Kinoks, other Russian filmmakers who would assist him in his hopes of making "cine-eye" a success.

Vertov believed film was too "romantic" and "theatricalised" due to the influence of literature, theater, and music, and that these psychological film-dramas "prevent man from being as precise as a stopwatch and hamper his desire for kinship with the machine". He desired to move away from "the pre-Revolutionary 'fictional' models" of filmmaking to one based on the rhythm of machines, seeking to "bring creative joy to all mechanical labour"<ref name = "Vertov 1922, p. 71">Vertov 1922, p. 71</ref> and to "bring men closer to machines".<ref name = "Vertov 1922, p. 71" />

In May 1927 Vertov moved to Ukraine, and the Cine-Eye movement broke up.<ref name=":0" />