Robert, I do agree that self-promotion of Eisenstein and Vertov with little help of Western Leftists made them what they are today in film histories. I would like to see however Dovzhenko's self-promotion. I am in a process of compiling Dovzhenko's bibliography and there is no self-serving theorizing in any of his writings. Be careful when you try to generalize. Why has the term "feminist" got stuck to *Tretia Meshchanskaia* also known as *Bed and Sofa*? One has to see the film in its historical context of NEP and other changes the society was going thru in order to understand it. The title means "Number Three Petit-Bourgeois Street". The film was intended as a critique of the new bourgeoise in the Soviet society of the 1920s. A woman who does nothing (she does not work or do much at home), has an affair and leaves both pathetic men out of boredom to search for ... another man she could use?. Remember that in 1920s (and today) women could not get anywhere in Russian society unless they use men wisely. So the heroine of *Bed and Sofa* can go back to her parents or to find another man (remember there is a housing shortage in Moscow) the second alternative seems to be a solution in this case. Why is Bed and Sofa overlooked?. It has been used in North America for many years in courses on Soviet cinema as alternative to the "Revolutionary cinema"? Just my 2 cents Canadian (1,4 cent in US funds). Bohdan Y. Nebesio, University of Alberta