We'll start here:
Endlessly Repeating Twentieth Century Modernism (2007) Josiah McElheny
And, oh, in between . . . . .
As the camera has become ubiquitous in everyday life, we've seen people using the "kino-eye" more and more as another way they can see (and remember, and communicate). With the advent of the virtual camera in 3D environments, the filmmaker or the player has unprecedented control, and the camera can go even farther afield than Vertov ever imagined as he exulted in the possibilities in the early 1920s:The kino-eye lives and moves in time and space; it gathers and records impression in a manner wholly different from that of the human eye. The position of our bodies while observing our perception of a certain number of features of a visual phenomenon in a given instant are by no means obligatory limitations for the camera, which, since it is perfected, perceives more and better.