Dziga Vertov, a pioneering Soviet filmmaker and theorist, aimed to revolutionize the use of cameras by rejecting traditional narrative storytelling in film. His writings promoted what he called *Kino-Pravda* (Film-Truth), where the camera became a tool to reveal truth by capturing reality as it is, without the artificial constraints of fiction or theatrical drama. Vertov believed that film could be used to create a more objective, revolutionary form of art that aligned with Marxist ideals. His *Kino-Eye* theory emphasized the camera’s ability to see what the human eye could not. He viewed the camera as a mechanical extension of the human eye, capable of transcending the limitations of perception and capturing a more accurate representation of reality. For example, the camera could record a dancing scene from the feet up, or a horse running from the horses perspective, etc. Vertov's goal was to create films that were not only educational but also mobilized the masses, connecting them with the revolutionary spirit through non-linear, montage-driven films. This approach influenced documentary filmmaking, emphasizing experimentation and innovation over established cinematic norms.