ABSTRACT
If in Moscow or Kharkov we try showing the following films in a single day (1 am citing these examples from memory): The Special Far-Eastern Army, The Shadows of Machines, A Panopticum Exhibit, Documents of the Epoch, Pashkov's FiveYear Plan, Room's Five-Year Planl64 and The Eleventh Year - and if we view these films in quick succession we shall satisfy ourselves that The Eleventh Year is, to a greater or lesser extent, a part of every one of these films.
