[Brooklyn, New York] : [Distributed by] Icarus Films, 
Video — 1 streaming video file (55 min.) : digital, sound, black and white
A story about two very different men: one of them, Nikolai Vavilov, was a botanical genius who travelled the world, accumulating a vast wealth of biodiversity. The other, Trofim Lyssenko, was a talented agronomist who claimed he was able to increase crop-yields through his pseudo inventions. In the burgeoning Soviet Union of the 1920s, prey to famine, they would each attempt, in their own way, to solve the problem which haunted the communist authorities: how to feed the people. The genius would die of hunger in a Stalinist prison, the charlatan ended up as president of the academy of sciences.
Video — 1 online resource (78 minutes) Digital: data file.
Kino-Eye is both a documentary and a classic propaganda film, showing the joie de vivre of Soviet youth in a small village taking hold of their destiny, and building the future of the Soviet revolution. They stick propaganda posters on the walls, hand out fliers calling on the population to buy from the cooperative, and help people in need. Kino-Eye is perhaps the most successful application of Dziga Vertov's principles. The film shows the incredible force of his theories, but also the beauty and energy of the message transmitted through simple, so-called documentary images, transformed from raw material into cinematic discourse and spectacle.
Video — 1 online resource (23 minutes) Digital: data file.
Kino-Pravda (Film Truth) is both the name of the movement spearheaded by Dziga Vertov to promote a cinema exclusively composed of newsreels assembled according to the theoretical principles of Kino-Eye, and the name of the series of newsreels screened across the Soviet Union beginning in 1922, to promote the success of the Revolution. This film was made in 1925 to mark the first anniversary of Lenin's death.
During the 1920s, Soviet documentary and fiction films were financed by the State, and their fledgling directors, some barely out of their teens, converted their lives from theater, engineering, painting and journalism to the practice and theory of a revolutionary cinema devoted to showing the achievements and aspirations of the new Socialist society. Their problem was to captivate an enormous, culturally diverse, multi-lingual, semi-literate population in ways that would be emotionally compelling, yet ideologically clear. The proven ability of movies to achieve this difficult goal inspired Lenin's famous dictum, 'For us, cinema is the most important art, ' and their stunning innovations recharged world cinema. Editing, or montage, is the common organizational basis of these films and each of the filmmakers believed the arrangement of shots to be the foundation of film art. Dziga Vertov's Stride, Soviet! (1926), a documentary which transformed a State commission intending to show what the Soviet had done for Moscow into a highly experimental film about the state of Soviet society and contemporary life. The film has many scenes portraying machines, factory workers, automobiles, and poverty.