Arguing that video was part and parcel of the postsocialist condition marked by liberalization and disintegration of the so-called ‘Second World,’ this dissertation explores the history of analog video technologies, distribution, and consumption in the (ex-)Soviet Union in the 1980s and 1990s. (Post-)Soviet video, as this study emphasizes, represented a particular glocal formation that was a frontier of the Cold War economies and cultures since the 1960s, as well as their dismantling during the 1991 dissolution of the Soviet Union. First, while I trace Soviet video engineering projects, tele-video practices, and early consumer-grade video cultures, I outline the visions, both utopian and dystopian, that informed the meanings and usage of and policies around video as a technology. In particular, I foreground how video in the Soviet context emerges as a medium facilitating socialist and internationalist connectivity and offering a window into the world. Second, with an emphasis on how video reshaped the encounters between the (post-)Soviet and global realities, the study examines cross-border networks of video circulation and the rise of local video distribution infrastructure, including exhibition spaces, media bazaars, and television programming. Finally, this research brings translation as a cultural negotiation and actual language transfer to the fore, examining the crucial sites of (post-)Soviet video—children’s media and action cinema. With translation as a tool and object of the analysis, I interrogate the shifting geocultural dynamics of screen flows and politics of attributing cultural and aesthetic worth under (post-)socialism, as refracted through these media forms, video, and the reconfigured Cold War East-West divisions.