What is the real source of the erotic undercurrent in Man With a Movie Camera of Vertov ?
In this soviet avant-garde film of the twenties, the Kino-Eye is neither masculine nor feminine. Vertov emphasizes its hybrid nature both as a techno/organic and as a postgender creation. In her analysis of the film Kirby even suggests this by attempting to locate a "di--vision... between a feminine and masculine voyeurism". By hyphenating the word, "di--vision," Kirby appears to be searching, not so much for two separate types of voyeurism, which the word "division" would imply, as two related types--a double vision.
Understanding the Kino-Eye as a gender-neutral, or more appropriately, androgynous human-machine construction, makes this di--vision, a scopophilic desire to understand other cyborgs, or as Vertov would put it, "the sensory exploration of the world through film"Soviet avant garde film movement of the twenties,