Abstract
The documentary by Victor Turin The Steel Way. Turksib (1929) is analyzed in this essay from the perspective of interaction between nature and society. The essay compares Turksib with the avant-garde films of Dziga Vertov and analyzes the language, editing system and poetics of intertitles characteristic of Turins film. It is noted that in the visual structure of Turksib images of the sculpting in time (according to Andrei Tarkovsky) allocate a significant role to the ethnographic pictures of local peoples life, virgin landscapes and wild and domestic animals. The accent is put on the emphatic rhythm of the intertitles, which actualizes the problems of interaction between nature and society. The construction of the Turkestan-Siberian railway through the Kazakh steppe and the Siberian forests demonstrates the advancement of scientism whose proponents are convinced of the inevitability of scientific and technological progress. The essay shows how the attitudes of the representatives of power, the transformers of the region lead to a change in value priorities in particular, towards the pacifying of the stubborn nature with the aim of putting it at the service of man. The essay ends with an analysis of Turksibs significance as an ecological message and concludes that if the ideas and artistic techniques of Turins film were developed further, the history of documentary cinema in the following decades could include ecology as one of its major directions.