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Across One Sixth of the World: Dziga Vertov, Travel Cinema, and Soviet Patriotism**

Across One Sixth of the World: Dziga Vertov, Travel Cinema, and Soviet Patriotism** Across One Sixth of the World: Dziga Vertov, Travel Cinema, and Soviet Patriotism* OKSANA SARKISOVA The films of Dziga Vertov display a persistent fascination with travel. Movement across vast spaces is perhaps the most recurrent motif in his oeuvre, and the cine-race [kino-probeg]—a genre developed by Vertov’s group of filmmakers, the Kinoks 1—stands as an encompassing metaphor for Vertov’s own work. His cinematographic journeys transported viewers to the most remote as well as to the most advanced sites of the Soviet universe, creating a heterogeneous cine-world stretching from the desert to the icy tundra and featuring customs, costumes, and cultural practices unfamiliar to most of his audience. Vertov’s personal travelogue began when he moved from his native Bialystok2 in the ex–Pale of Settlement to Petrograd and later to Moscow, from where, having embarked on a career in filmmaking, he proceeded to the numerous sites of the Civil War. Recalling his first steps in cinema, Vertov described a complex itinerar y that included Rostov, Chuguev, the Lugansk suburbs, and even the Astrakhan steppes.3 In the early 1920s, when the film distribution network was severely restricted by the Civil War and uneven nationalization, traveling and filmmaking were inseparable. Along with http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png October MIT Press

Across One Sixth of the World: Dziga Vertov, Travel Cinema, and Soviet Patriotism**

Sarkisova, Oksana
October , Volume Summer 2007 (121) – Jul 1, 2007
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Publisher
MIT Press
Copyright
© 2007 October Magazine, Ltd. and Massachusetts Institute of Technology
ISSN
0162-2870
eISSN
1536-013X
DOI
10.1162/octo.2007.121.1.19
Publisher site
See Article on Publisher Site

Abstract

Across One Sixth of the World: Dziga Vertov, Travel Cinema, and Soviet Patriotism* OKSANA SARKISOVA The films of Dziga Vertov display a persistent fascination with travel. Movement across vast spaces is perhaps the most recurrent motif in his oeuvre, and the cine-race [kino-probeg]—a genre developed by Vertov’s group of filmmakers, the Kinoks 1—stands as an encompassing metaphor for Vertov’s own work. His cinematographic journeys transported viewers to the most remote as well as to the most advanced sites of the Soviet universe, creating a heterogeneous cine-world stretching from the desert to the icy tundra and featuring customs, costumes, and cultural practices unfamiliar to most of his audience. Vertov’s personal travelogue began when he moved from his native Bialystok2 in the ex–Pale of Settlement to Petrograd and later to Moscow, from where, having embarked on a career in filmmaking, he proceeded to the numerous sites of the Civil War. Recalling his first steps in cinema, Vertov described a complex itinerar y that included Rostov, Chuguev, the Lugansk suburbs, and even the Astrakhan steppes.3 In the early 1920s, when the film distribution network was severely restricted by the Civil War and uneven nationalization, traveling and filmmaking were inseparable. Along with

Journal

October – MIT Press

Published: Jul 1, 2007

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