what did vertov mean by his doctrine of kino-eye?

"Of all the great innovators of the Soviet cinema, none speaks so directly to the issues of our time as Dziga Vertov"
The basic principle of kino-eye is that it involves not only a disappearance of
the border between the camera and the eye but a dissolution in the stages separating
the process of film production as well. In this essay I will elaborate on Vertov's conception of kino-eye. I shall also study kino-eye in practice, as applied by Vertov in
his 1928 film The Man with a Movie Camera. Finally I shall examine Eisenstein'
appraisal of the theory. In all, my intention is to reveal the ambitions and deep tensions within Vertov’s thought and practice.
Kino-eye- motivations
Vertov has been described as belonging to the ‘constructivist generation’ in that he had great “…disdain of the mimetic, his concern with technique and process, their extensions and disclosure…” (Vertov, p. xxv)
All of these elements are apparent within the Kino-eye doctrine and can...