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The late opening night. First impressions.

Naum KLEIMAN. Lacunae, are to be filled.

Mikhail YAMPOLSKY. Pity for Drankov.

Nina DYMSHITZ. Archivists and innovators.

Dmitrii SALYNSKY. Our unpredictable past.

Nicolai IZVOLOV. Notes in the margin of a cine film.

Pyotr BAGROV. Towards the question on Shiryaevs films.

Unknown earlier animations by Alexandre Shiryaev, Mariinsky Treatre ballet dancer and ballet-master, were first presented at the archive cinema festival Beliye Stolby-2004. If the hypothetical dating of these films (19041908) is to be confirmed, it would be recognized as the first Russian animation. This sensational event became the theme of discussion in the circle of film explorers.

Yurii GRIGOROVICH. Alexandre Shiryaev a message from afar.

The outstanding Russin ballet-master confirm: choreography of the beginning of the XX century, which ceased to exist nowadays was reflected in Shiryaevs films.

Victor BOCHAROV. The fun was impressible. (Interview by N.Mazur).

Film director and film explorer tells the story of the sensationable discovery of the early animations.

Daniil SAVELYEV. Shiryaev was possessed by an idee. (Interview by Pyotr Bagrov).

Interview with Leningrad school of choreography photographer who have preserved the unique Shiryaevs animation films at his home for several decades.


Alexandre Shiryaev in reminiscences of contemporaries: Hashim MUSTAEV, Zaituna NASREDDINOVA.

Marietta FRANGOPULO. Miracles from a magic box. Variant of a preface to the book Petersburg ballet.

In this block of publications Shiryaevs apprentices and colleagues recall him.

Alexandre SHIRYAEV. Petersburg ballet. From reminiscences of Mariinsky Teatre artist. (Edited by Y.M.Slonimsky).

Never published earlier full text of the ballet-masters memoirs.


Alexandra TUCHINSKAYA. Sokurovs creative elegies.

Alexandre SOKUROV. I want to know all the ways of human creation.

The film director tells of his work on musical performances and mass show in Saint-Petersburg.


Alexandre DERYABIN. Five and three years. Pre-history and history of Kalatozovs Shamil.

I do it by my artistic rights... Materials towards history of unrealized feature film Shamil. (Publ. and comments by A.Deryabin, S.Ishevskaya).

Biography of every artist include not only victories, but also interesting projects that were not finished. The publication includes the discussions of Kalatozovs screenplay at Lenfilm studio and in magazine Kino that decided the films fate.


Vadim ABDRASHITOV. We shouldnt touch the theme (Interview by Tamara Sergeeva).

The film director reflects on Kalatozovs screenplay Shamil (published in the previous issue of KZ).


Nea ZORKAYA. Caucassian prisoners on the border of ages.

The Caucasian theme is still hot today. The author resumes the attitude to the problem in several last films dealing with the theme and decisions of it that are suggested.


Three fellows. Correspondence between Sergei Skvortsov, Lev Kuleshov and Leonid Obolenskii. (Publ. by V.Tumaev, Comments by V.Zabrodin).

The 2004 was the 100th anniversary of Sergei Skvortsov. Since 1938 till 1983 he was an assistant professor in VGIK, a senior teacher of direction in the workshops of Sergie Eisenstein and Ivan Savchenko then the master in the workshops of Grigirii Kozintsev, Lev Kuleshov and Sergei Utkevich. Sergei Skvortsov and Leonid Obolenskii were the dearest ones to Lev Kuleshov through all his life. This publication consists of exchange of letters between Sergei Skvortsov and Lev Kuleshov for almost forty years and letters from Leonid Obolenskii to Sergei.


Price-list of ideas, or They will never let you make The People. Two letters to Sergei Eisenstein. (Publ. and preface by V.Zabrodin).

After prohibition and disparaging of Bezhin Meadow Eisensteins attempts to launch a new project meet even more resistance from the cinematographic administration. His new is to be as politically adjusted as possible

Andrei BUROV. The crease of fear: space.

The author reflects on graphic nature of Eisensteins cinema (and his Ivan the Terrible in particular) and on deeper influence of its elements.

Victoria LEVITOVA. On Dickenss visuality, Proust, Eisenstein and next to nothing on Griffith.

Language of some writers is too much visualizable. So visualizable and cinematographistic, that it is very hard to move their heroes to the screen




Verbatim report of military news reel cameramen heads deliberation, 1213 May of 1942. (Publ., preface and comments by I.Sekste).

World War II is shot for the history thanks to the people who risked their lives on the fields of battles. But their names are known less then the chronicle they shot. During the deliberation there were discussed a lot of contemporary problems of news reel makers, even the problem of documentary falsification. In the comments each name of the cameramen was attributed as much as it was possible.


Russian Cinematography 2002: Cameramen Round Table. (Publ. by T.Moskvina-Yaschenko).

Cinematographers-members of Russian Guild of cameramen Igor Klebanov, the President of the Guild, Juri Nevskii, Juri Lubshin, Maria Soloveva, Iliia Diomin and Alexei Rodionov tells about function of cameraman in modern Russian film process, about creative potential o f profession, about their own work and about on stage-relations of cinematographer and new Russian producer.


Mikhail KRICHMAN. Style appears tandem of director and cameramen.

Sergei YURIZDITSKY. Im interested in life in itself. (Interviews by A.Leschenko).

Two outstanding Russian cameramen speak on their experience in creation


Camerimage in Lodz and Vittorio Storaro.

Aldo PIRO. Roma Imago Urbis: Rome. Image of the City.

Vittorio STORARO. Evolution of light, shadow and penumbra conceptions.

Vittorio STORARO. Author rights of a cinematographer. (Preface by A.Leschenko)

The block contains different aspects of the great Italians experience: his returning to documentary genre in Roma. Image of the City, resume of his theoretical and practical exploration of beloved theme light in cinema. And also the cinematographers attempt to stand up for his and his colleagues authorship.


Nestor ALMENDROS. Man with a camera. (Chapters from the book). (Comments by Y.Butovsky).

The cinematographer reminds his work at such well-known films as Days of heaven. The wild child and so on, pointing out the tasks that were put by the directors and measures that were undertaken to fulfill it.