"As he was violently opposed to the scenario as the basis of film and deeply committed to catching life 'unawares', it is not surprising that his main attention focused on the shooting and editing stages. Kino-Eye had never considered the camera as a substitute for the human eye, but had always affirmed it as a machine in its own terms capable of extending or creating new perception. Vertov stated: "Kino-Eye" makes use of all the new techniques for high speed representation of movement, micro-cinematography, reversed movement, multiple exposures etc.'; and: 'Kino Eye' does not regard these as mere tricks or special effects but as a normal technique which should be used as widely as possible.'" pg. 47
Grice, Malcolm Le. Experimental Cinema in the Digital Age (Bfi Film Classics (Paperback)). British Film Institute, 2002.
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If Vertov uses his Kino-Eye to capture reality unawares, and that his techniques, the "micro-cinematography," are interfaces comparable to that of a computer, then this also suggests that the computer is a new form of cinematography - that the cinema is expanding into the realm of the digital media.
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