<Li> Manifesto - In their introductory statement We: Variant of a Manifesto (1922), Vertov lays the groundwork for Kino - eye's interpretation of cinema and the role of each component of the cinematic apparatus (producer, spectator, exhibit). The manifesto demanded: <Ul> <Li> The death of cinematography "so that the art of cinema may live ." Their objection, spelled - out in To Cinematographers - The Council of Three, criticised the old guard of holding to prerevolutionary models which had ceased their useful function . Routine, rooted in the rote reliance on a six - act psychodrama, had doomed film to stagnation . In The Resolution of the Council of Three, April 10, 1923, Kino - eye identified newsreel as the necessary correction to devolution of film practice . </Li> <Li> The purity of cinema and its undue conflation with other art forms . Here, they are combating a premature synthesis of forms . Theater, which had long been the center of revolutionary art, was condemned for its desperate integration of elemental objects and labors in order to stay relevant . Film, and more specifically newsreel, encountered life as it happened and created synthesis from life, rather than an assemblage of representational objects that approach but never capture life . </Li> <Li> The exclusion of man as a subject for film and toward a poetry of machines . In a follow up to The Resolution of the Council of Three, April 10, 1923, Kino - eye published an excerpt decrying American cinema's reliance on humanness as a benchmark for filmmaking, rather than treating the camera as an eye itself . "We cannot improve the making of our eyes, but we can endlessly perfect the camera ." The reproduction of human perception was the implicit project of film until this point, which Kino - eye saw as a hamstrung endeavor for cinema . Rather than assume the position of humanness, Kino - eye sought to breakdown movement in its intricacies, thereby liberating cinema from bodily limitations and providing the basis from which montage could fully express itself . </Li> <Li> The determination and essence of systems of movement . Analyzing movement was a step in the reconstitution of the body and the machine . "I am kino - eye, I create a man more perfect than Adam, I create thousands of different people in accordance with preliminary blueprints and diagrams of different kinds . I am kino - eye . From one person I take the hands, the strongest and most dexterous; from another I take the legs, the swiftest and most shapely; from a third, the most beautiful and expressive head - and through montage I create a new, perfect man . I am kino - eye, I am a mechanical eye . I, a machine, show you the world as only I can see it ." </Li> </Ul> </Li> <Ul> <Li> The death of cinematography "so that the art of cinema may live ." Their objection, spelled - out in To Cinematographers - The Council of Three, criticised the old guard of holding to prerevolutionary models which had ceased their useful function . Routine, rooted in the rote reliance on a six - act psychodrama, had doomed film to stagnation . In The Resolution of the Council of Three, April 10, 1923, Kino - eye identified newsreel as the necessary correction to devolution of film practice . </Li> <Li> The purity of cinema and its undue conflation with other art forms . Here, they are combating a premature synthesis of forms . Theater, which had long been the center of revolutionary art, was condemned for its desperate integration of elemental objects and labors in order to stay relevant . Film, and more specifically newsreel, encountered life as it happened and created synthesis from life, rather than an assemblage of representational objects that approach but never capture life . </Li> <Li> The exclusion of man as a subject for film and toward a poetry of machines . In a follow up to The Resolution of the Council of Three, April 10, 1923, Kino - eye published an excerpt decrying American cinema's reliance on humanness as a benchmark for filmmaking, rather than treating the camera as an eye itself . "We cannot improve the making of our eyes, but we can endlessly perfect the camera ." The reproduction of human perception was the implicit project of film until this point, which Kino - eye saw as a hamstrung endeavor for cinema . Rather than assume the position of humanness, Kino - eye sought to breakdown movement in its intricacies, thereby liberating cinema from bodily limitations and providing the basis from which montage could fully express itself . </Li> <Li> The determination and essence of systems of movement . Analyzing movement was a step in the reconstitution of the body and the machine . "I am kino - eye, I create a man more perfect than Adam, I create thousands of different people in accordance with preliminary blueprints and diagrams of different kinds . I am kino - eye . From one person I take the hands, the strongest and most dexterous; from another I take the legs, the swiftest and most shapely; from a third, the most beautiful and expressive head - and through montage I create a new, perfect man . I am kino - eye, I am a mechanical eye . I, a machine, show you the world as only I can see it ." </Li> </Ul> <Li> The death of cinematography "so that the art of cinema may live ." Their objection, spelled - out in To Cinematographers - The Council of Three, criticised the old guard of holding to prerevolutionary models which had ceased their useful function . Routine, rooted in the rote reliance on a six - act psychodrama, had doomed film to stagnation . In The Resolution of the Council of Three, April 10, 1923, Kino - eye identified newsreel as the necessary correction to devolution of film practice . </Li> <Li> The purity of cinema and its undue conflation with other art forms . Here, they are combating a premature synthesis of forms . Theater, which had long been the center of revolutionary art, was condemned for its desperate integration of elemental objects and labors in order to stay relevant . Film, and more specifically newsreel, encountered life as it happened and created synthesis from life, rather than an assemblage of representational objects that approach but never capture life . </Li>

Which art form is not a dimension of film