I'm an eye. A mechanical eye. I, the machine, show you a world the way only I can see it. I free myself for today and forever from human immobility. I'm in constant movement. I approach and pull away from objects. I creep under them. I move alongside a running horse's mouth. I fall and rise with the falling and rising bodies. This is I, the machine, manoeuvring in the chaotic movements, recording one movement after another in the most complex combinations. Freed from the boundaries of time and space, I co-ordinate any and all points of the universe, wherever I want them to be. My way leads towards the creation of a fresh perception of the world. Thus I explain in a new way the world unknown to you.

In the 2012 Sight and Sound poll the critics voted Vertov's Man with a Movie Camera (1929) the 8th best film ever made. Vertov's interest in machinery led to a curiosity about the mechanical basis of cinema. " [quotation needed]
Vertov's driving vision expounded in his frequent essays was to capture "film truth"—that is fragments of actuality which when organized together have a deeper truth that cannot be seen with the naked eye.

[citation needed]. David Abelevich Kaufman (Russian: Дави́д А́белевич Ка́уфман) (2 January 1896 – 12 February 1954) — better known by his pseudonym Dziga Vertov or Vertof (Russian: Дзи́га Ве́ртов "spinning top") — was a Soviet pioneer documentary film newsreel director and cinema theorist. His filming practices and theories influenced the cinéma vérité style of documentary moviemaking and the Dziga Vertov Group a radical filmmaking cooperative which was active in the 1960s.