Additionally, film has portrays a higher mathematics montage as Vertov has used unique cinematic techniques to craft a document that have pleasantly joined facts with images hence making the film to consist only of those linkages that will signify a whole organic essential in endorsing self-reflective images. In relation to that, Vertov, believe that the camera is a “Cine-Eye,” that captures, images reflecting on found reality hence enabling him to create his own cine-truths, apart from preceding art forms and beyond the decayed conventions of traditional narrative and socially created realism. In achieving this, Vertov decided to relate man to machines and in the face of machine, man is abashed for their incapability to engross the world with a reflexive eye.
For that reason, Vertov decided to use Cine-eye to organize the shots extracted from real life situation hence crafting a well calculated, and meaningful rhythmic visual order ever seen. Correspondingly, Vertov argues ‘the film is only the sum of the facts recorded on film. Thus, he advocates for film’s freedom from “the tutelage of literature and the theater “as literature and the theater promote a notion of perceiving ‘life as it’ hence nurturing imperfect human eye. For that reason, Vertov recommend that cinema vocation is necessary as it capture “the feel of the world” as this will certify for “perfectible eye” thus brings us face to face with 100% cinematography. For instance, a series of shots that demonstrate details of a womans bedroom in Moscow give us a clear picture of the lifestyle of Urban Russian in 1929. Subsequently, Vertov has capture everyday life among humans in Russia by using a series of shots that occur in the streets Moscow and Odessa demonstrate images of a train moving at extraordinary speed and individuals arriving at industrial unit to begin labor.
Another stimulating aspect of Vertovs editing is the way he