 Kino-eye, composed of various newsreel correspondents, editors, and directors, also took indirect aim at montage as the overarching principle of cinema.Kino-eye was interested in capturing life of the proletariat and actualizing revolution, and was accused by Eisenstein of being devoid of ideological method.Films like Dziga Vertov's "The Man with a Movie Camera" utilized montage (almost all films did at the time), but packaged images without discernible political connection between shots.