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Mikhail YAMPOLSKI. Russia: the Cinema of Anti-modernity and the Backward Progress.
Tracing Russian film history of 191030es the author makes a conclusion that its evolution depends upon its resistance to modernity culture of each decade. Also he revises such phenomena as Russian style and its intersection with actual aesthetical trend of the periods.
Sergei FILIPPOV. 11 major events in the history of film technology concerning their influence on film aesthetics.
Author observes those technological innovations (among lighting equipment, lenses, film stock, sound recording) during the history of motion pictures which provided essential aesthetical efforts.
I consider myself happy working with you. Meyerhold and Cinema.
In the previous issue of our magazine a collection of new materials about the film Evgenii Bazarov was published. It was Meyerholds unrealized project he worked on during few years.
This time more than thirty documents, letters and telegrams, are published. In the combination of texts a theme Meyerhold and Cinema is reflected from different points and angles. There is information about the directors intentions still unresearched, surprising facts about a lot of famous cinematographers who debuted in his projects as assistant and their estimations of his theatre works. But the main and most important thing that these documents are the evidences of amazing feeling of his every collaborator or discipline experienced during hard and full of conflicts creative process.
Nataliya SAMOILOVA. Documentary film searching for reality.
Unnarrowed reflections on modern Russian documentary considered as an organic continuation of the Thaw documentary film. Though since Perestroyka a lot of things have changed in modern Russia there is something constant in Russian mentality. The way it mirrors on documental screen surfaces is traced by the author.
Artavazd PELESHIAN: I destroy montage with montage The master-class in VGIK, October, 2005.
During annual International VGIK Student Film Festival the Master visited his alma mater. Report of Peleshian talk to audience in VGIK is offered to a reader: a mix of dialog and lection about the directors method of making films and his theoretical innovations.
S u p p l e m e n t
Pre-Babylon language. Conversation of Artavazd PELESHIAN and Jean-Luc GODARD, 1992.
Jean-Michel FRODON. The Peleshian invention.
In spring, 1992, the retrospective of Peleshian films took place in Paris. There were also plans to product his new film Homo sapiens in France. Few materials of Le Monde special column of that events are republished.
Vladimir VINOGRADOV. Eisenstein and Schopenhauer. For the problem of influence.
The author considers the Eisenstein discourse as a partial assimilation of the philosophers ideas. In turn, the points in common are considered from the angles of aesthetic and philosophy at the present stage.
Andrei BUROV. A Photo phrase.
Nowadays every one is a witness and contemporary of a visual episteme. The arts are not to mimicry but to represent and reproduce the reality. Photography and cinema are the basement of visual sphere. Their interactions and confrontation of static and dynamic is a struggle inside visual. A photo phrase solves the struggle problem but also at the same moment represents the visual episteme entirely.
The prolegomena to a fundamental study of the photo phrase phenomena.
Naum SHAFER. Searching Jewish happiness. For 70th anniversary of Iskateli schastia/Seekers after happiness.
The film was shot in 1936 and proclaimed the Soviet Union as a native land of all lands. But soon it was off all screens after the MolotovRibbentrop pact. In 1980es the film was restored and the phonogram was rerecorded. In 1936 the original score had been conducted by Isaak Dunaevskii so it was some kind of new score interpretation. The author considers the musical dramaturgy of the film according the composers intention.
Eva BINDER. Austrian film production under the Soviet supervising. Wien-Film at Rosenhügel, 19451955
The post-war fi lm history seems more transparent than its other periods. But in fact there are also a lot of lacunas. One of them is such item scanty researched in Russia as activity of the allies in reconstruction of Austrian film industry after the Victory. The article of German film historian is to fill up the gaps.
Osip BRIK. Cinema critiques of 1930-es.
It is early to archives reserving. On silent cinema. The Kuleshov way. About entertainment. For a film dramaturgy. Notes on chronicle. Significant success. Balzak according to Eggert. About screenplay criticism. Report on conference Creative ways of the Soviet comedy film. Suppliers of subsidiary material. The way it was. Apropos of genre.
Osip Brik (18881945) is well-known as a literary critic, constructivist and a close friend and biographer of Vladimir Mayakovskii. And he is known less as a fi lm critic and scriptwriter although he is the author of Pudovkins classical Storm over Asia screenplay. This is the last part of his critiques we republish. It is
possible to notice some kind of creative breakdown in his texts of 1930-es the main reason is the death of Mayakovskii in April,1930 and political context of art in the Soviet Union of that period.
S u p p l e m e n t
GLAVLIT is sure to unallow it. The Kuleshov poem dedicated to Osip Brik. A preserved fragment.
In private collection of Anatolii Valuzhenich, literary historian and known studier of Briks heritage, there is a hand-made book by Lev Kuleshov. It is an illustrated poem about a director and script writer. It consisted of two chapters. But only few pages are preserved. They are to read. The pictures drawn by Kuleshov see on the cover of this issue.
Victor VATOLIN. Wins and victims in Siberian cinema, 1930-es1940-es.
As Alma-Ata, Novosibirsk was an evacuation city for Russian film industry during the War. But while Alma-Ata was a temporary feature film capital the city where Souzkinohronika studio was replaced became a documentary capital and area of film techno industry.
The Siberian film historian describes in details the evacuation process and film production of that period.
Juan Jose HERRERA de la MUELA. Spanish citations in films of Tarkovsky.
The Tarkovsky cinema is a multicultural phenomena. On example of Solaris, The Mirror, and Nostalgia the author intertextually considers the Tarkovsky motifs from the side of Spanish culture influences.
Victor FILIMONOV. Ashore and on a boat. The Shukshinian character as a type in cinema of 1970-es.
Author argues that such type of character which was represented in Shukshin novels and films is possible to be founded in some other films of 1970es. Especially in that pictures where essence of plot is the conflict of generations and conflict of urban and rustic cultures.
Dmitrii MASURENKOV. The always pioneer. For 100th anniversary of Fyodor Provorov.
Fyodor Provorov was a Russian cinematographer who shot the first Russian sound film Putevka v zhizn and the one of the first color film Solovei-Solovushko. In 1930-es Provorov also was one of the inventors and developers of color film shooting technology and equipment. He also was a director of photography of several after-war color films (Stone Flower, Sadko, A Poem of Sea). The article observes his activity in the context of color film technical evolution.