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A Sixth Part of the World is a russe film of genre Documentary directed by Dziga Vertov
A Sixth Part of the World (1926)
Шестая часть мира
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Add to a movie listA Sixth Part of the World (Russian: Шестая часть мира, Shestaya Chast Mira), sometimes referred to as The Sixth Part of the World, is a 1926 silent film directed by Dziga Vertov and produced by Kultkino (part of Sovkino). Through the travelogue format, it depicted the multitude of Soviet peoples in remote areas of USSR and detailed the entirety of the wealth of the Soviet land. Focusing on cultural and economic diversity, the film is in fact a call for unification in order to build a "complete socialist society". A mix between newsreel and found footage, Vertov edited sequences filmed by eight teams of kinoks (kinoki) during their trips. According to Vertov, the film anticipates the coming of sound films by using a constant "word-radio-theme" in the intertitles. Thanks to A Sixth Part of the World and his following feature The Eleventh Year (1928), Vertov matures his style in which he will excel in his most famous film Man with a Movie Camera (1929).
Synopsis
Vertov starts by showing us, with intertitles in giant Cyrillic characters, what he sees (Вижу) about the capitalist West with its foxtrot and black minstrels, and then switches his attention to the audience (Вы) and then the individual viewer (Ты). In one self-reflexive moment, Vertov even shows cinema-goers watching an earlier piece of the film (‘And you sitting in the audience’). He takes us on a tour of the vital importance of agricultural production, which generates export revenue (shot of the ship’s nameplate ‘Greenwich’) so that Russia can buy machines to build more machines (shots of a milling machine). This gives him the pretext to take us on a Cook’s tour of the extremities of the Soviet Union: we see the icebreaker Lenin (amazing shot downwards from above the prow) delivering new dogs to the Samoyeds on Novaya Zemlya, and their being invited on board to listen to a gramophone recording of the great man himself. We go to Bukhara where one of the mosques is looking very dingy and crumbled, and to Leningrad where the trams run down the middle of broad empty boulevard as a horse-drawn carriage turns out. We see a Kirghiz with a giant eagle perched on his arm, a bear encircled by yapping dogs, a fox caught in a trap and another one that is a child’s pet, guillemots, gulls, a man shooting a sable in the top of a pine tree, a pine marten, sheep being dragged into the sea for a wash and other sheep being obliged to jump into a stream for the same purpose - the intertitles are surreal: (“You – whether you are washing your sheep in the sea (film) or whether you are washing your sheep in the river (film)…”, We see trappers bringing their furs to the Госторг (Gostorg) trading post in exchange for manufactured goods, everyone contributing to the national economy. Ironically, the furs are destined for the Leipzig fair (ярмаркт). In an amazing stop-frame sequence, rows of oranges align themselves in a packing box, wadges of packing material shuffle along and jump on top of them, and then the lids close (you can just see the line pulling one of the sides). We see coke being quenched also, as well as electricity pylons and insulators, and the village electricity co-op. We see sturgeon being hoiked out of tanks to make caviar. We see barrels of butter – 'it is yours!' We see wheat being threshed, linen being spun and cotton being ginned. We see the country being modernised, although there are still some people who trust in Mohammed (film) or Christ (a man telling his rosary) or Buddha (film) and we are shown a Siberian shaman looking remarkably like a North American Indian, and even a reindeer being slaughtered (by axe blows to the neck) as a sacrifice. We see crowds of women in full-face veils, but also a modernising country as a woman lifts her veil. And we see some tundra-dwellers eating raw reindeer meat.Comments
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