A Sixth Part of the World

Plot

Dziga Vertov's 'A Sixth Part of the World' is a groundbreaking documentary that traverses the vast expanse of the Soviet Union, showcasing the incredible diversity of its peoples, landscapes, and economic activities. The film follows a journey through remote regions from the Arctic north to the Asian steppes, documenting indigenous peoples like the Samoyeds, Buryats, and various Turkic tribes alongside modern industrial workers in cities. Vertov captures the contrast between traditional ways of life and the emerging socialist society, showing how different ethnic groups contribute to the collective Soviet economy through hunting, farming, mining, and manufacturing. The documentary serves as both an ethnographic record and a propaganda piece, emphasizing the wealth of Soviet resources and the need for all peoples to unite in building socialism. Through innovative editing techniques and striking visual compositions, Vertov creates a powerful argument for Soviet unity and the transformative potential of collective labor under communism.

Historical Background

The film was produced during the New Economic Policy (NEP) period in the Soviet Union, a time of relative cultural openness preceding Stalin's consolidation of power. 1926 was a pivotal year for Soviet cinema, with the government recognizing film as a powerful tool for education and propaganda. The Soviet Union was still in its early stages, having been formed only four years earlier, and there was an urgent need to create a unified Soviet identity among dozens of distinct ethnic groups spread across eleven time zones. Vertov's film emerged alongside other Soviet avant-garde masterpieces like Eisenstein's 'Battleship Potemkin' (1925) and Pudovkin's 'Mother' (1926), representing a golden age of Soviet cinematic innovation. The film also reflected the Soviet emphasis on industrialization and modernization, showcasing both traditional ways of life and the new socialist society being built across the nation.

Making Of

The production of 'A Sixth Part of the World' was an ambitious undertaking that required extensive planning and coordination across the vast Soviet territory. Vertov organized multiple camera teams that simultaneously filmed in different regions, creating a logistical challenge that required careful synchronization. The filmmakers often had to travel by dog sled, reindeer, camel, or primitive vehicles to reach remote locations, sometimes spending weeks in harsh conditions. Vertov's revolutionary approach included hiding cameras to capture authentic reactions, using mirrors for unusual angles, and developing rapid editing techniques that would later influence countless filmmakers. The post-production process was equally innovative, with Vertov and Svilova spending months in the editing room, experimenting with montage techniques to create rhythmic patterns and intellectual connections between disparate images. The film's creation coincided with Vertov's development of his 'kino-eye' theory, which argued that cinema could reveal truths invisible to the naked eye through mechanical objectivity and creative editing.

Visual Style

The cinematography in 'A Sixth Part of the World' was revolutionary for its time, featuring unprecedented camera mobility and innovative angles. Mikhail Kaufman and his team employed numerous technical innovations including handheld cameras, concealed cameras for candid shots, and cameras mounted on moving vehicles, trains, and boats to create dynamic tracking shots. The film features extreme close-ups, low angles, and aerial perspectives that were technically challenging in 1926. Vertov's 'kino-eye' approach led to experiments with split screens, multiple exposures, and superimpositions to create intellectual and visual connections between different images. The cinematography also demonstrates remarkable technical skill in capturing diverse environments, from the blinding snow of Arctic regions to the intense heat of Central Asian deserts. The film's visual style emphasizes geometric patterns and rhythmic repetitions, creating a visual symphony that matches Vertov's conception of cinema as music made of images.

Innovations

The film pioneered numerous technical innovations that would become standard in documentary filmmaking. Vertov and his team developed portable camera equipment that could be operated in extreme weather conditions, allowing them to capture footage in locations previously considered inaccessible to film crews. They experimented with underwater photography, aerial shots from primitive aircraft, and time-lapse photography to show natural processes. The film's editing techniques were particularly groundbreaking, featuring rapid montage, rhythmic cutting, and intellectual montage that created conceptual connections between disparate images. Vertov also developed techniques for synchronizing multiple cameras and for creating seamless transitions between shots filmed in different locations and at different times. The film's preservation of diverse ethnic performances and traditional practices represents an invaluable ethnographic achievement, capturing cultural practices that have since disappeared or been transformed.

Music

As a silent film, 'A Sixth Part of the World' was originally accompanied by live musical performances, typically featuring a specially composed score by Vladimir Deshevov that incorporated elements from various Soviet folk traditions alongside modernist orchestral techniques. The musical score was designed to complement the film's rhythmic editing and to musically represent the diversity of Soviet peoples shown on screen. Different theaters employed various approaches to musical accompaniment, from full orchestras to smaller ensembles, and some screenings included folk musicians from the regions depicted in the film. Modern restorations have been accompanied by newly commissioned scores from contemporary composers who attempt to capture the spirit of Vertov's original vision while using modern musical resources. The film's rhythmic structure and editing patterns have often been compared to musical compositions, with some scholars suggesting that Vertov conceived of his editing in musical terms.

Memorable Scenes

• The opening sequence showing a map of the Soviet Union dissolving into actual footage of its diverse landscapes and peoples
• The dramatic montage of reindeer herders in the Arctic transitioning to factory workers in industrial centers
• The sequence showing traditional crafts and industries alongside modern machinery, emphasizing continuity and progress
• The powerful montage of different ethnic groups performing their traditional dances and ceremonies
• The climactic sequence showing various peoples looking directly into the camera, creating a sense of unity and shared purpose

What Critics Said

Contemporary Soviet critics praised the film for its innovative techniques and patriotic message, with prominent critic Viktor Shklovsky hailing it as a triumph of the 'kino-eye' theory. Western critics who managed to see the film were impressed by its technical virtuosity, though some questioned its propagandistic elements. Over time, the film has been reassessed as a masterpiece of early documentary cinema, with modern critics celebrating Vertov's formal innovations and his complex approach to representing cultural diversity. Film scholar Jay Leyda described it as 'perhaps the most successful of all Vertov's attempts to create a symphony of the Soviet world.' The film is now studied in film schools worldwide as a prime example of avant-garde documentary techniques and early Soviet cinema at its most innovative. Recent scholarship has also examined the film's complex relationship to ethnography and its role in constructing Soviet identity.

What Audiences Thought

The film was widely screened throughout the Soviet Union as part of the state's educational and propaganda programs, reaching both urban and rural audiences through mobile cinema units. Contemporary reports suggest that Soviet audiences were particularly impressed by the footage of remote regions and peoples they had never seen before, as the film served to introduce citizens to the vastness and diversity of their country. The film's rhythmic editing and dynamic visuals made it popular even with audiences who might have been resistant to more overt propaganda. International audiences had limited access to the film due to political barriers, but where it was shown, particularly in left-wing circles in Europe and America, it was celebrated for its technical innovation. Modern audiences viewing the restored version often express astonishment at the film's contemporary feel and its sophisticated editing techniques that seem decades ahead of their time.

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