This documentary promoting the joys of life in a Soviet village centers around the activities of the Young Pioneers. These children are constantly busy, pasting propaganda posters on walls,...
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"Sixth Part of the World" was the size of Soviet Union of the time. Many peoples of many customs composed it. Ice and desert, forest and ocean. Bread, furs, machines. All and every is a part of great unity.
Irrestisible charm and talent helps Serge Alexandre alias Stavisky, small-time swindler, to make friends with even most influential members of French industrial and political elite during ... See full summary »
In documentary style, events in Petrograd are re-enacted from the end of the monarchy in February of 1917 to the end of the provisional government and the decrees of peace and of land in ... See full summary »
Sergei M. Eisenstein
100.000.000 peasants - illiterate, poor, hungry. There comes a day when one woman decides that she can live old life no longer. Using ways of new Soviet state and industrial progress she changes life and labor of her village.
Sergei M. Eisenstein
A five-person team of gold prospectors in the Yukon has just begun to enjoy great success when one of the members snaps, and suddenly kills two of the others. The two survivors, a husband ... See full summary »
This documentary promoting the joys of life in a Soviet village centers around the activities of the Young Pioneers. These children are constantly busy, pasting propaganda posters on walls, distributing hand bills, exhorting all to "buy from the cooperative" as opposed to the Public Sector, promoting temperance, and helping poor widows. Experimental portions of the film, projected in reverse, feature the un-slaughtering of a bull and the un-baking of bread.Written by
George S. Davis
Dziga Vertov (1896-1954) was a film theorist who regarded his camera both as a weapon for the Socialists against the bourgeois world and as a tool to help the fallible human eye digest the "visual chaos of life." Some of his speculations included that the cameraman must: remain an unnoticed observer, understand dialectical connections between discordant moments and keep up with the tempo of everyday life using a kinetic hand-held camera. Whereas cinema at the time had been more akin to literature and theater, Vertov created a cinema comparable to poetry and music. The influence of Vertov's film theories is immediate from the start as the camera work and rapid paced editing reflect the vitality of dancing and the "rhythm" of life that the director sought to achieve. While the dancers are very much aware of the camera's presence, Vertov still successfully crafts an illusion of authenticity. Vertov does not always abide by his hand-held camera rule but when the camera is static he often chooses a dynamic angle to record the action. The film is also admirable for its playfulness, as flags and stars leap atop buildings, images layer and as we witness early stages of stop motion animation. Sequences of machinery, metal gears turning, sideways soldiers marching and the "ordinary man" performing manual labor are strangely hypnotic under the "Film-Eye's" vision. In its closing sequence, Kino Eye manages to establish a clear sense of community and collective effort as the marching band and soldiers' parade through the streets. What I am most interested in seeing as a film viewer is a film where the director is conscious of the medium being used. Seeing Vertov today is still exciting and refreshing especially considering the deluded modern day mainstream cinema that places emphasis on the narrative of the film rather than the unique properties that make cinema, cinema.
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