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WILL NEW CENTURY HAVE CINEMA?
Requested members of expertise council of Eisenstein-centre:
Vyacheslav IVANOV, Naum KLEIMAN, Leonid KOZLOV, Viktor LISTOV, David ROBINSON, Akos SZILADYI, Yury TSIVIAN, Hans-Joachim SCHLEGEL, Bernard EISENSCHITZ, Mikhail YAMPOLSKY.
Nowadays, when the world trespassed the new Millenium, members of the editorial board of KZ – film historians and theoreticians, as well as critics, ponder over the changes in cinema, its role and language in the epoch of new technologies.
LET’S LOOK OUT (Hypotheses)
Pierre ADORNIER. Death of cinema (1923).
Following the way of Jules Verne, the French writer and journalist as a participant of this phantasmagoric satire (published by “Le Crapouillot” in 1923), that is discussion between the Reactionaries and the Modernists, takes the side of the worshippers of cinema.
Henry ROUSSEL. The Future of cinema (1925).
French actor and filmmaker 20s reflected.
Wim WENDERS. Imagering the future. On the eve of the digital era (2000).
Future, to the German’s filmmaker’s mind, is in front of us. It manifests itself in supermodern technologies, which change not only film production, but atristic phantasy itself.
Supplement:
«We were making silent cinema, and witnessed its end…» Victor Shklovsky on cinema, TV, Eisenstein and Leo Tolstoi.
Unedited records of the Round Table talk which took place 30 years ago (1971) in “The Literaturnaya Gazeta”, where Victor Shklovsky reflected over logics and perspectives of the art process of the time, when cinema encounted an heir and rival – TV.
EXPERIENCE (I)
Hans-Joachim SCLEGEL. Constructions and perversions. «A new man» in the Soviet cinema.
Specifying different periods in the history of the Soviet cinema, the German scholar traces down the origin and evolution of the theme of «New Adam» and «New Eve», implementing the notions of Stalinist epoch about contemporary man, typecast in keeping with machinery Rationalism and functionality/
COLLOQUY
Naum KLEIMAN: “Another history of the Soviet cinema”, Locarno, 2000 г. (Conversed by Bernard Eisenschitz).
The conversation opens the Catalogue of the Retrospective of Soviet films 1926-1968, held at the Locarno International film festival in 2000. The compilers consider the conversation the most relevant form of commentary on the Programme. It’s an easy talk without academic polish and final resume, just dot-lining the contour of challenging problems.
EISENSTEIN READINGS
Vladimir ZABRODIN. “Je suis triste”. About the first shotting day of S.M.Eisenstein.
Basing on Esenstein’s letters and his remarks in articles and interviews, the author consideres, that his cinema debut took place 1 May, 1924 in the Red square, where the epilogue of “The strike” was shot.
Leonid KOZLOV. “Boris Godunov” and “Ivan the Terrible”. Fragments to the theme.
In the body of voluminous literary legacy of Eisenstein, relating to “Ivan the Terrible”. “Boris Godunov” never has been mentioned in spite of the vivid allusions. Though juxterposition of the two allows either to confirm, or to reject vital inner and contextual correlations in the structure of jf Pushkin’s “Boris Godunov”and the last film by Eisenstein.
RESEARCH
Neja ZORKAYA. Unattributed archival perls.
Some archival miniatures – a unique collection of documents from Russia’s State Archive of Literature and Arts. That is: an excerpt from A.Khanzhonkov’s book “The first years of russian cinema”, telling of the death of Evgeny Bauer; fragments from the records of discussion in ARRK in 1928 A. Toporkov’s report “About a connemporary woman on screen”; a sketch from a country life of Eisenstein by Tatyana Tess; some jocular notes from Grigory Kozintsev to the author.
THEME FOR EXPLORATION
Mikhail YAMPOLSKY. Cinema of allegory. On Vladimir Kobrin and his films.
What are specifics and genre of cinema by Vladimir Kobrin? He is principally opposes any kind of rationality. Including metaphysical one, though is whimsically bound up with it.
TOWARDS CENTENARY OF MIKHAIL ROMM
«Thus, today we’ll get up history of Soviet cinema». M.Romm’s lecture in the Courses of directors of MOSFILM std., 1957
1957 is a crucial point in M.Romm’s biography. As a filmmaker he decided to refuse from old aesthetics and limited himself up to teaching until discovering abilities for innovation. The lecture in question witnesses this process of self identification from the points of view of both - a historian and participant of the events described.
«Belovered brother …» Letters from Mickail Romm to Alexandre Romm (1925-1943).
The correspondence discloses the mutual interests of the brothers as well as influence of the elder one. The publication is forworded by R.Yangirov’s “Another life by Mikhail Romm”.
«Now it’s easier to write for me». Early prose by Mikhail Romm.
6 short stories written by Romm before he became a filmmaker demonstrate their aliance to ideology and practice of Soviet literature and orientation to the French school.
EXPERIENCE (II)
Maja TUROVSKAYA. MOSFILM – 1937
The only year reflects all the processes characteristic of this epoch of Soviet cinema. Here we can see the macrocosm of Sovietism – the struggle of trends and clash of interests, the eternal theme «artist and power’, fluctuations of public opinion, retardness and modernization, problems of survival, etc.
REPUBLICATION
Andrey TARKOVSKY: «Life is born out of disharmony…» Interview of 1967.
An unknown interview given in Kishinev to Tarkovsky’s VGIK’s friend Nikolai Gib, first published in the Moldavian edition “Kolumna”. The filmmaker speaks of his attractions, his notion of Russian history, profession and teachers…
PERSONALIA
Vadim SKURATOVSKY. Shadows of the forgotten films
The author studies 4 feature and 3 documental films by S. Paradzhanov, tracing down the sources of all his future themes and motives.
Sergei PARADZHANOV. Letters from a goal. Part 2.
The letters of the 70s written from inprisonmnt to directors Roman Balayan and Mikhail Belikov, writer Tamara Shevchenko and others, which show an inextricable interest of Paradzhanov to the world at large.
FROM HISTORY OF FILMTHOUGHT
Zigfried KRAKAUER. Chaplin – Keaton – Lloyd. Articles of 20-30s
The articles first published in “Frankfurter Allgemaine” and other German editions.
CINEMA: LIFE AND ADVENTURES
Novelties on Drankoff
Rashit YANGIROV. “A Knight of Fortune” abroad. New materials to the biography of Alexandre Drankov.
Lui RICH. A character named Life
Alexander POZDN’AKOV. An eternal resort of Alexandre Drankov
A set of stuff including R.Yangirov’s article throwing light on the fate of Drankov in emigration; a sketch by the American journalist Lui Rich from The Jewish Tribune (New York, 1923) and a note about the burial place of the pioneer of Russian film industry.
INFORMATION. CHRONICLE
Kinovedcheskiye Zapiski. Contents №№ 41-50. |
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является незаконным.