, , , , , . 1920- , .
 
.. . (19331935) , , . .
 
 :
ԗ : , , , , , . .

 
7 .

8 "..." " ". .

12 " , ..." .

15 : . ( ).

19 .

28 . .


59 "" - , (..).

62 . 2- . (). ( .., ..).

 
  • ""
75 [ ""]. (, ..).

96 " """. .

 
104 " ". "". (, ..).

 
116 " , - ". .. ... (, ..)

 
135 " ...". " " 6- 1928 . * ..).

148 " - "" ". "" ., . . " " 21 1936 . (, .. ..).

 
169 , . "", "".

186 ... . ( ..).

207 . .

217 . - "-". - . (, ..).

226 . ( .)

243 . ( ..).

 
  • PERSONALIA
254 . .

 
276 .. , !

290 " - ..." 1988 . , , , , ( 1975-2001 .).

 
  • :
304 . .

321 C .


337 . . ( ).

 
339 Agnus dei

341 "".

343 , .

346 : . : , , , , , , , , , . ( ).


CONTENTS
THE HERMITAGE MUSEUM
Russian Arc by Alexander Sokurov
T.S. A trip to the past.
On Russian Arc as a natural phenomen in Sokurovs career.
Russian Arc changed the essence of cinematograph. Extracts from materials of foreign press.
Aleksandr SOKUROV. To join the course of time without recovering it. Fragments of his interview.
Mikhail PIOTROVSKY: He Revived Our Dream about the Hermitage Museum and the Winter Palace (interviewed by Tamara Sergeeva).
Director of the Hermitage Museum comment on the shooting.
 
Akos SZILADYI. Waxworks Show of Death.
Contemplations on Sokurovs views, on such recurring topics as death, power and a period of  social stagnation.
Mikhail YAMPOLSKII. The Cinema of Incompatibility. Kairos and History Presented by Sokurov.
According to the author, there is an essential difference in comprehension of time in the works of Tarkovsky and Sokurov. Following this argument, he analyzes a uniqueness of Sokurovs approach to representation of time, history, being and non-being in cinema.
S u p p l e m e n t.
            The Hermitage Museum Is a Door Through Which I Can                               Enter the Realm of Film Art.
            Mikhail TSEKHANOVSKII. The Hermitage Museum. An               Educational Film Of Two Parts (Screenplay).
                               (Publication by S.M.Ishevskaya, with introduction                                                                  and comments by A.S.Deryabin).
                A never-completed project of an outstanding animator, supposedly the first                     attempt to make a film about the Hermitage Museum.
FROM THE HISTORY OF THE LENFILM STUDIO
[The First Decade of The Lenfilm Studio]. (Publication, introduction and comments by D.G.Ivaneev).
An anonymous text (probably written by Mikhail Bleiman) about the silent period in the Lenfilm Studios history which came out in 1932 and introduced many previously unknown facts in film historiography.
N.S.GORNITSKAYA. From the History of the Lenfilm Studio. Briefly About the Essential.
On the concept and contents of the four editions of collected articles From the history of the Lenfilm Studio, published in 19681975; also on the structure of the fifth edition which was completed but never printed. 
 
E-n and E-r (TWO CAPITALS)
EISENSTEINS READINGS
Sergei EISENSTEIN: Ive Got to Work Really Hard On That City. The Interior Use of Multiple Genres In October. (Publication, introduction and comments by N.I.Kleiman).
An unfinished article discusses the imagery in the film October, as well as how Eisentsein tried to reveal the new baroque expressiveness in Leningrads architectural environment with the help of the film medium.
LETTERS FROM THE PAST
I hate Moscow; working there means getting involved in a foul place. Letters of F.M.Ermler to S.M.Eisenstein. (Publication, introduction and comments by V.V.Zabrodin).
These letters show the previously unknown aspects of the relations between two famous film directorsincluding a possible cooperation on a screen version of Andre Malreaus novel Condition of humaine.
DOCUMENTS AND COMMENTS
Parody Turned Into a Serious Thing.... An After-Show Discussion of House in the Snow-Drifts by Friedrich Ermler in ARRK on April 6, 1928. (Publication and comments by S.M.Ishevskaya).
The Possessed by Dostoevsky Were in the Background of the Story to Certain Extent. A verbatim record of the discussion of a screenplay Great Citizen by F.Ermler, M.Bolshintsov and M.Bleiman, arranged by the Lenfilm Studio directors board on July 21, 1936. (Publication, introduction and comments by N.S.Gornitskaya and L.B.Shvarts).
The significant documents of the period exposing the relations of the artists with each other, with people and with the powers that be.
FILM MUSEUM
Valentina KOZINTSEVA, Yakov BUTOVSKII. After Hamlet, Before King Lear.
This article concentrates on views and artistic intentions of Grigory Kozintsev during the period between the shooting of his last two films. 
G.M.KOZINTSEV. The Complete Filmography. (Compiled by Y.L.Butovsky).
The first detailed filmography of the director, with comments; alongside with his films it  includes his unfinished and never-completed projects.
 
Natalia NOUSSINOVA. Leonid Trauberg. A Homage to the Teacher.
The memoirs article about the meetings with an outstanding filmmaker.
Leonid Trauberg about Charles Chaplin and Ivan Mosjoukine.
            Chaplin to Kino-nedelia.
            Red Clown to the Rescue. 
                          (Publication, introduction and comments by N.I.Noussinova).
The early articles by the filmmaker show his interest in eccentricity that in his view paradoxically unites such different film artists as Chaplin and Mosjoukine.
 
Pyotr BAGROV. Film Workshop at the Factory of the Eccentric Actor (FEKS). (Based on the Materials of the Russian State Archive in St. Petersburg).
The first commented publication of archival documents about methods of teaching at the FEKS school.
 
Iosif Kheifits Lessons of Filmmaking.  (Publication and introduction by I.V.Sepman).
The record of several classes by Iosif Kheifits at the Higher Courses of Screenwriters and Film Directors in the 1960s.
PERSONALIA
Vera KUZNETSOVA. Against Inertia. On Vladimir Yakovlevich Vengerov.
A biographical portrait of one of the less known Leningrad filmmakers, whose creative work has influenced the artistic practice of Alexei Gherman.
LENINGRAD CINEMATOGRAPHY
Dmitry Meskhiev (19251983)
Natalia ADAMENKO.  D.D.Meskhiev and an Epic Symbolism of the Film Remember, Caspar!
An analysis of the cinematography in the forgotten and underevaluated film of 1964, made by a student of Andrei Moskvin.
 
Yurii Veksler (19401991)
Actor is the Main Thing for Me.... Interview of 1988.
Dmitry Dolinin, Vitaly Melnikov, Vyacheslav Yegorov, Alexei Gherman, Olga Shervud on Yuri Veksler (from film periodicals of 19752001).
S u p p l e m e n t.
     Filmography.
                               (Introduction and compilation by Y.L.Butovsky).
A selection of materials about the talented representative of the fourth generation of Leningrad cinematography.
LENINGRAD DOCUMENTARY FILM STUDIO (LSDF): THE GOLDEN AUTUMN
Anna GANSHINA. The Falling Leaf. Notes on the Margins of the Ideological and Temporary Geography of LSDF.
An overview of the Leningrad Documentary Film Studio of the 1970s1980s.
Naum AVRUNIN. How the Film Summer Is Coming Was Made.
S u p p l e m e n t.
Sergei SKVORTSOV.  Some Thoughts On Cinema. (Recorded by Naum Avrunin).
Recollections on  Sergei SKVORTSOV (19572000), one of the renowned documentary filmmakers in Russia of 1970s1980s, and his views of cinema taken from one of the discussions.
UNFINISHED STORY
Semyon Aranovitch. Unrealized
Irina PAVLOVA. Agnus Dei.
Andrei ZHITINSKY. Nika.
Yuri PAVLOV. Few Comments On Film That Nobody Will Be Able to See Anymore. (Compiled by Irina Pavlova).
Film Agnus Dei was conceived to commemorate the 50th anniversary of the victory of the USSR in World War II and was dedicated to the siege of Leningrad; the project was not realized. The authors of this section explain the reasons for that.
 
The River by Alexei Balabanov:
From the River-Head to the Mouth
Vladimir Dmitriev, Evert Payazatyan, Sergei Selyanov, Alexei Balabanov, Sergei Astakhov, Pavel Pakhomenko, Maxim Belovolov, Tamara Frid, Nadezda Vasilieva, Andrei Chertkov. (Compiled by Tamara Sergeeva).

The River could become an outstanding artwork of contemporary cinema, but due to a tragic death of the leading actress only one-third of the film was actually shot. Then the footage was edited on the initiative of the famous archivist Vladimir Dmitriev. The film crew members tell about their attitude towards the final cut as well as about the shooting process.

-


 « 




















































































































































































































































 » 



.