PERSONALIA
: .   -, - : .
 
. . .
1953-1967 ., , , , .
 
?.. .. .. . 1934 .
30-   , , . - () , , 1934-1937 . .. . .



I. XXIV

 
6 .

22 - : .

 
  • PERSONALIA
 

31 : .

64 , . .

 

68 . . ( ). ,


69 , 1956 .

 
  • (I)
 

87 . , , . ()

99

101 , ..

102 :


106 ( ). .., .., ..- ()

113

 
116 , , , 셻

125 ... . . . ()

 
148

154 ..

165

167 !, !

175


192

192

 
195 .

 
  • (II)
213 . ()

 
263 : , ,

271 . ( .)

 
281 ?.. .. .. . 1934 . ()

 
347 , ()

 
  • :
359 . (18961917). (.)


CONTENTS
I
XXIV MOSCOW INTERNATIONAL FILM FESTIVAL
PROCESS
Oleg ARONSON. Adapting Literary Works: Clash of Approaches.
Kira Muratovas Chekhovian Motifs and Vittorio and Paolo Tavianis version of Leo Tolstois Resurrection are reviewed in the context of major issues of literary classics screen adaptation.
Tatiana VETROVA. New and Old Problems of Ibero-American Cinema.
Review of the Festivals Spanish and Latin American film program.
PERSONALIA
Stanley Kubrick
Oksana PERETRUKHINA. Stanley Kubricks Philosophy: From Alex to Barry Lyndon and Back.
Analysis of key topics and motifs in the directors oeuvre.
Interview with Jan Harlan, Kubricks long-time assistant and the author of the film about his life and work.
Grigorii Chukhrai
He Was Totally Worthy of His Films Heroes/ Chukhrai is remembered by Aleksei BALABANOV and Nikolai LEBEDEV. Moderator Tamara Sergeeva.
Supplement:
Transcript of a Discussion of The Forty-first by Mosfilms Artistic Council.
Balabanov, director of War (2002) and Lebedev, director of The Star, the 2002 remake of a 1949 World War II film, speak on todays topicality of World War II veteran Chukhrais cinematic heritage. The supplement contains materials regarding the initial reception of Chukhrais debut work.
CINEMA MUSEUM (I)
Unknown Barnet. A Retrospective.
Until the Very End, He Couldnt Make Himself Produce Films to Order. Reminiscences about Boris Barnet by Marlen Khutsiev, Gennadii Poloka, and Otar Ioseliani. Moderator Tamara Sergeeva.
Evgenii MARGOLIT. The Time and Historical Place of Boris Barnet.
Liubov STARIKOVA. Barnet Was Born and Lived in This House.
Irina GRASHCHENKOVA. Boris Barnet and Abram Room. A Double Portrait.
Supplement:
An Unbelievably Easy Person to Work with. Barnet in Kiev. Memoirs by N.A.Gebdovskaia, S.M.Tsibulnik, and E.Vasilko-Gakkebusch.
Boris Barnets Letter to Inna Filimonova. (Published by V.A.Khlebnikova and E.O.Dolgopiat).
Was Boris Barnet a totally unique case for our cinema or was he a legitimate brother of other outstanding Russian filmmakers? This and other questions are at the center of the above publications.
II
 
FROM THE HISTORY OF FILM THOUGHT
Viktor Shklovskiis Forgotten Texts.
The Corruption of Cinema/ Polikushka/ Psisha. Preface to Chaplin, a collection of essays. From the book Literature and Cinema. Form and Material in Art.(Republication, introduction and comments by R.M.Yangirov).
Little-known theoretical pieces and film reviews (19181923) by Shklovskii.
RESEARCH
Natalia GROMOVA. The Law of Life and the Fate of Sergei Ermolinskii. Records of the Soviet scriptwriters interrogations by the NKVD.
Liudmila GOLUBKINA. A Lyrical Afterword.
Sergei A. Ermolinskii (19001984), a prominent scriptwriter, was unfair prosecuted in 1940 and was unable to work in cinema for a number of years. Presented materials deal with the 1940 film The Law of Life, which was to play such a fateful role in Ermolinskiis life and career.
 
Yuri SAAKOV. Thrice Glory! Or Hey, Thats Not True!  
The article about poet Vladimir Lugovskoi and director Grigorii Aleksandrovs joint work on the 1951 film Composer Glinka.
 
Georgii BORODIN. Nikolai Erdman and Animation.
Evgenii MIGUNOV. Two Encounters with Erdman.
First analysis of the prominent scriptwriters work in film animation. The supplement contains a filmography of animated cartoons scripted by Erdman.
 
A TOPIC FOR RESEARCH
Evgenii MARGOLIT. The Cinema of the Thaw. Notes on a Phenomenon.
According to the author, the subject of the cinema of the post-Stalin thaw (19531964) and its true plot are constituted by the ripening of the personal within the collective.
CINEMA MUSEUM (II)
Gennadii Shpalikov. The Beginning.
Diaries (19551956) Why I Decided to Become a Filmmaker. On Music. Lets Get Acquainted! Stars on the Move (A Witness Account). [Interview with Grigorii Chukhrai]. The Red Balloon (A Commercial). Valentin K.Turkin. In Memoriam. My Speech at a Komsomol Meeting to Be Held at the Years End. (Introduction, publication and commentary by E.O.Dolgopiat).
Diaries and other texts written by the celebrated scriptnwriter and poet during his studies at the All-Union State Institute of Cinematography (VGIK).
LOOKING BACK AT A FILM
The End of a Century Discussed by Nina Dymshits, Oleg Aronson, and Irina Shilova.
Konstantin Lopushanskii. Fragments from The End of a Century script.
Konstantin Lopushanskiis The End of a Century, which was released in 2001, remains an object of a strong public and critical controversy. By publishing a selection of relevant reviews and thoughts, the editors wish to stimulate the debate around this films significance in todays social, cultural and cinematic context. The discussion is supplemented by the screenplays fragments, which were not included in the films final version.
ARCHIVES
So You Dont Make Trash Like The Accordion Any More? Records of Boris Shumiatskiis conversations with Joseph Stalin, held after film viewings in 1934. (Publication, introduction and commentary by Aleksandr S.Troshin).
Much has been written by participants, witnesses and scholars about film shows held at the Kremlin during the 1930s. Those late night screenings often decided the fate of one or another film and sometimes sealed the fate of their makers. The Russian State Archive for Socio-Political History (RGASPI) preserves brief records of comments made by Stalin and his political associates after those viewings, which are among the most eloquent and authentic evidence of these sessions nature and importance. Between 1934 and 1937, Boris Shumiatskii, the then head of Soviet film industry and the viewings organizer, took regular notes of those comments until he himself became a victim of Stalinist purges. His notes.
LETTERS FROM THE PAST
I Dont Like It When the Horizon Starts Trembling Aleksandr Dovzhenkos Letters to Ivan Sokolianskii. (Publication, introduction and commentary by S.Trimbach).
Dovzhenkos letters to a friend, a prominent defectologist, demonstrate the filmmakers great interest in the study of the human minds potential.
CAREERS AND ADVENTURES IN CINEMA
Victor VATOLIN. Essays on Early Cinema in Siberia (18961917). Part II.
Chapters from a book about first film shows, cinema pioneers, and the beginnings of film production in Siberia, based on a wealth of previously unknown data.
-


 « 




















































































































































































































































 » 



.