Kinoeye
Kinoeye, often written Kino-Eye, is a term in film theory associated with the work of Dziga Vertov and the early Soviet cinema movement. The concept describes the cinema as an autonomous organ of seeing—the camera’s eye—capable of recording life as it unfolds and revealing aspects of reality that may elude human perception. Vertov argued that through the kino-eye and carefully assembled montage, films could present social life with greater immediacy and factuality than conventional narrative.
Origins and development: In the 1920s Vertov and his collaborators, known as the Kinoks, developed a program
Notable works: The theory underpinned Vertov’s film Kino-Eye (1924) and culminated in The Man with a Movie
Legacy: Kinoeye influenced Soviet montage theory and later documentary practices, and it remains a touchstone in
Contemporary usage: The phrase Kinoeye has appeared in modern publications and projects that engage with moving-image