The sixth part of the world. Director Dziga Vertov (Stenberg V., Stenberg G., Naumov A.) Soviet Posters (1917-1941)

The poster presents a striking visual composition characteristic of Constructivist aesthetics. The dominant color is a saturated red, which immediately establishes a sense of urgency and dynamism. Superimposed on this background is a grid system, reminiscent of cartographic projections or technical diagrams, suggesting an attempt at systematic observation and documentation. This framework isnt merely decorative; it appears to structure the arrangement of figures and text, reinforcing the idea of ordered analysis.
Three distinct portraits are integrated into the design. A woman with a close-cropped hairstyle is positioned in the upper left quadrant, her expression seemingly inquisitive or contemplative. Below her, a man with a broad smile occupies the lower left corner, conveying an impression of optimism and accessibility. The right side features a portrait of a man wearing glasses; his gaze is direct and intense, suggesting authority and perhaps a critical perspective. These faces are not presented as individual characters but rather as representative types – embodying different facets of Soviet society or potentially, different roles within the filmmaking process itself.
The central text block, Шестая часть мира (Sixth Part of the World), is rendered in bold, sans-serif lettering, further emphasizing its importance. The subtitle “1- КИНО-ПРОБЕГ по СССР” (First Kinoprobe Across the USSR) clarifies the nature of the project as a cinematic expedition across the Soviet Union. This phrase hints at a documentary approach, aiming to capture and present a broad view of the nations landscape and people.
The inclusion of numerical coordinates along the grid lines – ranging from 60 to 180 in both horizontal and vertical axes – adds another layer of complexity. These numbers seem arbitrary but contribute to the overall sense of scientific measurement and geographical mapping, aligning with the film’s stated purpose of a “kinoprobe.”
The placement of АВТОР-РУКОВОДИТЕЛЬ ДЗИГА ВЕРТОВ (Author-Director Dziga Vertov) in the upper right corner highlights the directors role as both creator and guiding force. The production company, ГОСКИНО, is listed at the bottom, anchoring the poster within the Soviet film industry infrastructure.
The overall effect of this design is to convey a sense of modernity, technological advancement, and ideological purpose. It’s not merely an advertisement for a film; its a visual statement about the power of cinema as a tool for observation, documentation, and potentially, social engineering within the Soviet context. The poster suggests a project that aims to systematically explore and represent the breadth and diversity of the nation, all while adhering to a rigorously structured aesthetic framework.