СОДЕРЖАНИЕ

		К ЮБИЛЕЮ ОПОЯЗа
		Теория и практика
5		Юрий ЦИВЬЯН, Юрий ЛОТМАН Фильм «СВД» (1927): Диалог мелодрамы и истории. Опыт диахронического подхода
32		Юрий ЦИВЬЯН P.S.
34		Юрий ТЫНЯНОВ Шинель публикатор Сергей ОГУДОВ
62		Аластер РЕНФРЮ Факты и жизнь: Осип Брик и советская киноиндустрия переводчик Мария ТЕРАКОПЯН
		Поэзия и проза в кино
91		Лариса МИЛЛЕР Кино и поэзия
95		Дарья ХИТРОВА Сюжет «Кино-Глаза»
119		Сергей ТРИМБАЧ Кинопоэзия и кинопроза. Украинская версия
		О "ПОЛИТИКЕ АВТОРСТВА"
		Теория
126		Александр АСТРЮК Рождение нового авангарда. Камера-перо переводчик Вероника КОНДРАШИНА
130		Сергей ФИЛИППОВ Заметки об авторах и теории. Вместо послесловия к статье Астрюка
		Опыт
143		Стефан ГУДЕ, Франсуа ЭД Playtime: Фильм Жака Тати переводчик Вера РУМЯНЦЕВА
184		Надежда ФЕДОРОВА «Дневниковое кино» Йонаса Мекаса
		В ПРОСТРАНСТВЕ КУЛЬТУРЫ
		«Политизируя Диснея (1935–1942): Беньямин, Эйзенштейн, Фишингер, Уэллс»
194		Антонио СОМАИНИ Коллективный смех как «терапевтический выплеск бессознательных энергий». Беньямин о Диснее переводчик Вера РУМЯНЦЕВА
202		Елена ВОГМАН «Бунт—мечтанием». Эссе Сергея Эйзенштейна о Диснее переводчик Анна КУКЕС
213		Мари РЕБЕККИ Абстрактное кино приходит в Голливуд. Фишингер и Дисней переводчик Наталья МАЛЬЦЕВА
220		Марко СЕНАЛЬДИ Политика (мета)дискурса. 1942: Уолт Дисней и Орсон Уэллс—американские представители зрелищных искусств в Южной Америке переводчик Юлия ФРОЛОВА
		МУЗЕЙ КИНО
232		«В смене тени и света». Письма Константина Юдина к жене публикатор Елена ДОЛГОПЯТ
247		«…Искусство движется тем, что существует много мнений». Выступления Константина Юдина на обсуждениях своих комедий публикатор Артем СОПИН
270		Воспоминания актеров о работе с Константином Юдиным публикатор Алексей ТРЕМАСОВ
		ЭЙЗЕНШТЕЙНОВСКИЕ ЧТЕНИЯ
274		Наум КЛЕЙМАН «Дело Бейлиса». Эйзенштейн. 1940
301		«…Идем на совещание в ЦК», или «Спорить не о чем». Три текста Сергея Эйзенштейна об одном предвоенном совещании публикатор Артем СОПИН
		IN MEMORIAM
314		Наталия ЯКОВЛЕВА Как быть счастливым
319		Владимир ДМИТРИЕВ «Зеленый фургон». Курсовая работа по истории советского кино студента 4 курса киноведческого факультета ВГИК
333		Владимир ДМИТРИЕВ О Жаке Леду
335		«У меня никогда не возникало напряжения с героями Толстого—я всегда ощущал их братьями…» Мастер-класс Паоло Тавиани, проведенный в рамках II Международного кинофестиваля молодого европейского кино «Voices» (Россия, Вологда) 6 июля 2011 года ведущий Валерий БОСЕНКО
		ИСТОРИЧЕСКАЯ ПОЧТА
343		«Дорогой Лёня—Дорогой Красный Заяц». Из переписки Якова Бутовского и Леонида Козлова публикатор Дарья КРУЖКОВА
		КИНО И ТЕХНИКА
388		Максим КАЗЮЧИЦ «Совполикадр»: полиэкранный и поликадровый фильм в истории кинематографа 1960–1980-х
397		Александр ШЕЙН Как это начиналось…
399		Александр СВЕТЛОВ, Гвидон АГАЯНЦ, Генрих БРЕННЕР о «Совполикадре» публикатор Максим КАЗЮЧИЦ
407		Избранная фильмография творческой мастерской «Совполикадр» составитель Максим КАЗЮЧИЦ
		ЗАМЕТКИ НА ПОЛЯХ КНИГ
411		Евгений МАРГОЛИТ Страсти по Сергею
416		Мария СОБОЛЕВА Единомышленники

CONTENTS

THE OPOYAZ CENTENNIAL

Theory and practice

Iurii LOTMAN, Iurii TSIVIAN. «SVD» (1927): A dialogue between melodrama and history. An attempt at a diachronical approach. A paper given at the First Tynianov Readings (1982), printed earlier only in a collection of small circulation and dedicated to Iurii Tynianov’s and Iurii Oksman’s work on the script and to the “recodifying” of events from the system of history into the one of literature.

Iurii TSIVIAN. P.S.
Memoirs about the work with Iurii Mikhailovich Lotman (a speech at the meeting «Remembering Lotman…» during the International Congress «Multlinguism of Culture», Tartu, 2012)

Iurii TYNIANOV. The Overcoat. Introduction and publication by Sergei Ogudov
The first publication of Tynianov’s «literary» script for the classical film of Grigorii Kozintsev and Leonid Trauberg (1926).

Alastair RENFREW. Facts and life: Osip Brik and the Soviet film industry. Translated by Mariia Terakopian
An investigation into the theoretical and practical legacy of Osip Brik in cinema in the context of the methology of OPOYAZ and the ideology of LEF.

Poetry and prose in cinema

Larisa MILLER. Cinema and poetry.
The poet and philologist considers the affinity between poetry and cinema. Poems about cinema.

Daria KHITROVA. The plot of «Kino-Eye».
Vertov’s «Kino-Eye» has acquired in cinema literature the role of a precursor, a draft for the future masterpiece, «Man with a Movie Camera». The author attempts «to shift the point of view and take a look at how and using what techniques and elements “Kino-Eye” was constructed in 1924, and not at how it has been constructed afterwards from the carcass taken apart by directors and scholars».

Sergei TRIMBACH. Cine-poetry and cine-prose. The Ukrainian version.
The new «poetic cinema», which appeared in Ukraine at the turn of the 1960s, following the trajectory of the 1920s–1930s films by Aleksandr Dovzhenko and Ivan Kavaleridze, were marked by a tendency also evident in European cinema, such as the French New Wave, Italian and Polish cinema. One can see there, in particular, what Pier Paolo Pasolini called «“first person” speech of a man who see the world primarily irrationally and who, in order to express himself, has to resort to the most “in your face” methods of “the language of poetry”».

ON THE “POLITIQUE DES AUTEURS”

Theory

Alexandre ASTRUC. The birth of a new Avant-garde. La Camera-Stylo. Translated by Veronica Kondrashina, edited by Sergei Filippov

Sergei FILIPPOV. Notes on the auteurs and their theory: In place of an afterword to Astruc’s article
We publish the fundamental for auteur theory piece by Alexandre Astruc with an extensive «commentary» in the form of Sergei Filippov’s article, where essentially the whole history of the auteur theory is laid out. «One can say,—the author concludes,—that it was the auteur theory that brought real authors back into cinema, and not just brought back, but elevated them (for a while) to the theretofore unknown height».

Practice

Stéphane GAUDET, François EDE. Playtime: The film by Jacques Tati. Translated, compiled, and introduced by Vera Rumiantseva
An abridged version of the first chapters from an album-book «Playtime: The film by Jacques Tati» written by Stéphane Gaudet and François Ede (edited by Macha Makaïeff), dedicated to the history of the conception and the production diary of Jacques Tati’s masterpiece.

Nadezhda FEDOROVA. Jonas Mekas’ «The Diary Film»
«Perhaps, the most significant and the most attractive in Mekas’ films is their subjective documentality, the refection in them of a unity of a real place, time, and the author’s feelings and thoughts. One of the main themes, that has preoccupied Jonas for many years and that has existed in almost all of his films, is the theme of a phenomenon of time in individual consciousness and in cinema».

IN THE REALM OF CULTURE

«Politicizing Disney (1935–1942):
Benjamin, Eisenstein, Fischinger, Welles»

The four texts in this section were written for the annual conference of the European Network for Cinema and Media Studies (NECS) (Prague, 20–22 June 2013).
The theme of this year’s conference was «Media Politics—Political Media». The analysis of the political meaning ascribed to Disney’s animated films by the four authors, active in the period of 1935–42, formed the basis of the papers presented there by four European scholars.

Antonio SOMAINI. «Collective Laughter» as «a Therapeutic Release of Unconscious Energies»: Benjamin on Disney. Translated by Vera Rumiantseva
Into the second version of his famous essay «The work of art in the age of its technical reproducibility» (1935–1942) Walter Benjamin added several important thoughts about the films of Disney causing «collective laughter» as «a therapeutic release of unconscious energies». The author looks at Benjamin’s remarks as part of capitalist culture and at his role in the social-psychological and cultural space of the 1930s–1940s.

Elena VOGMAN. «Revolt against dreaming». Eisenstein’s Essay on Disney. Translated by Anna Kukes
Sergei Eisenstein’s essay «Disney» is analyzed within the cultural, historical, and anthropological contexts of his book «Method», and in the general philosophical and psychological context of the world culture of the 1930s–1940s.
«Eisenstein repeatedly stresses the political importance of the new configuration, in which with elastic animated drawn images Disney creates a new society, which encompasses “all age groups from a child to an old man, all races, and all kinds of societies”».

Marie REBECCHI. Abstract Cinema comes to Hollywood. Fischinger and Disney. Translated by Natalia Maltseva, edited by Nina Tsyrkun
About the intersections in the work of Oskar Fischinger and Walt Disney as the representatives, respectively, of the abstract (avant-garde) and the commercial tendencies in animation.

Marco SENALDI. The Politics of (Meta)Discourse. 1942: Walt Disney and Orson Welles as the American representatives of visual media in South America. Translated by Iuliia Frolova, edited by Naum Kleiman
The article looks at Disney’s films «South of the Border with Disney» (1941), «Saludos Amigos» (1942) and «The Three Caballeros» (1944), and Orson Welles’ unfinished project «It’s All True» (1943) and traces the connections between them and the relationship of each of the artists as a representative of American culture with the culture of Latin America.

MUSEUM OF CINEMA

This section includes materials connected to the work of a popular, but understudied comedy director Konstantin Konstantinovich Yudin (1896–1957).
«In the interchange of shadow and light». Konstantin Yudin’s letters to his wife. Introduction, publication, and commentary by Elena Dolgopiat
The letters from 1931 and 1934 from the manuscript collection of The Museum of Cinema represent not only a historical, but an emotional and lyrical document of Yudin’s early biography.

«…Art has been moved forward by the existence of many opinions». Konstantin Yudin’s speeches during discussions of his comedies. Introduction, publication, and commentary by Artyom Sopin
In the speeches made during discussions of his comedies of different periods («The Hears of Four», 1941; «Twins», 1945; «On the stage», 1956) Yudin’s principles of the work with material become manifest, as well as his views on the specificity of his genre; one can also trace through them the history of the creation of his films.

Actors’ memoirs about working with Konstantin Yudin. Recorded by Aleksei Tremasov

EISENSTEIN READINGS

Naum KLEIMAN. “The Beilis Case”. Eisenstein. 1940
The article traces in detail Eisenstein’s work on the unrealized project about the Beilis case, as well as the history of the director’s search for a theme for the new film during a period between the stop of filming of «The Big Fergana Canal» (1939) and the beginning of the work on «Ivan the Terrible» in 1941.

«…We are going to the meeting at TsK», or «There’s nothing to argue about». Three texts by Sergei Eisenstein about one pre-war meeting. Introduction, publication, and commentary by Artyom Sopin
Eisenstein described the Meeting of filmmakers conducted by TsK VKP(b) on May 14 and 15, 1941 three times—before, during, and after the war. In his texts he looked at the situation with the banning of Boris Barnet’s «Old Jockey» and Konstantin Yudin’s «The Hearts of Four» as a sign of the Party politics in cinema.

IN MEMORIAM

Natalia IAKOVLEVA. How to be happy.

Vladimir DMITRIEV. «The green wagon». A term paper on Soviet film history by the 4th year student of the Film Studies Department at VGIK

Vladimir DMITRIEV. On Jacques Ledoux
«I have never experienced a tension with Tolstoy’s characters— I’ve always considered them as brothers…» Master-class by Paolo Taviani, conducted during the Second International Festival of Young European Cinema “Voices” (Russia, Vologda) on July 6, 2011. Moderator—Valerii BOSENKO
The passing away of Vladimir Iur’evich Dmitriev and Valerii Ivanovich Bosenko was commented on by newspapers, journals, electronic media, including the website of our journal.
In the first issue of «Kinovedcheskie zapiski» published after their deaths we publish reminiscences by Natalia Iakovleva, who worked alongside them at Gosfilmofond for many years. We decided to honor their memory not by obituaries—we wanted their own voices to sound in this issue.
Next to the term paper by a promising VGIK student Volodia Dmitriev about Genrikh Gabai’s film «The green wagon» we print the «grown-up» text by the experienced archivist Dmitriev about his colleague, teacher, and friend Jacques Ledoux, the curator of the Royal Film Archive of Belgium.
The transcript of Paolo Taviani’s master-class, which was translated and moderated by Valerii Ivanovich Bosenko, he himself sent to our journal. We publish it with a feeling of sorrow because Valera will not see this publication, and with a feeling of gratitude to destiny for the joy of many years of our friendship.

HISTORICAL MAIL

«Dear Lenia—Dear Red Rabbit». From the correspondence of Iakov Butovskii and Leonid Kozlov. Introduction, publication, and commentary by Daria Kruzhkova
Fragments from the extensive correspondence between talented film scholars and authors of «Kinovedcheskie zapiski» Iakov Leonidovich Butovskii (1927–2012) and Leonid Konstantinovich Kozlov (1933–2006), dedicated to the development of the principles of theoretical research into Andrei Moskvin’s work, as well as into «Ivan the Terrible», and the art of cinematography in general.

CINEMA AND TECHNOLOGY

Maksim KAZIUCHITS. «Sovpolikadr»: multi-screen and multi-cadre film in the cinema of the 1960s-1980s.

Aleksandr SHEIN. How it all began…

Aleksandr SVETLOV, Gvidon AGAIANTS, Genrikh BRENNER about «Sovpolikadr». Interview by Maksim Kaziuchits

Selected filmography of the creative workshop “Sovpolikadr”. Compilied by Sergei Rozhkov and Maksin Kaziuchits
This section is compiled from various materials about the creative workshop «Sovpolikadr » of the Experimental creative association at «Mosfilm» studios, in whose works in the 1970s our multi-screen and multi-cadre cinema developed as a comprehensive artistic phenomenon.
In his article Maksim Kaziuchits delineates the signposts of the evolution of this phenomenon, situated at the intersection of technical and aesthetic explorations and achievements.
The voices of the workshop’s creators and participants continue the section. It is concluded by the selected filmography of «Sovpolikadr».

MARGINALIA

Evgenii MARGOLIT. Passions according to Sergei
A review of the collection «The screen world of Sergei Paradzhanov», contemplation of the modern reception of the director’s works.

Mariia SOBOLEVA. Fellow-thinkers
A review of the album, dedicated to the life and art of Andrei Tarkovsky, compiled and with the introduction by Hans-Joachim Schlegel, and a collection of Aleksandr Sokurov’s reminiscences of and reflections on Japan, also compiled, translated and with the conclusion by Schlegel. Both books came out in Germany in 2012.