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AD GLORIAM Leonid Kozlov—Seventieth Anniversary This part is dedicated to the seventieth anniversary of Leonid Konstantinivich KOZLOV, one of the most influential Russian film historians and scholars of Eisenstein. Leonid KOZLOV. The Paragonal Counterpoint of Luchino Visconti. How does the visual theme taken from the art of the past, or even a conglomerate of these themes, that are contrapuntal to the film’s narrative, composition and thematic consonance appear in the films by Visconti? The author of the article elaborates. Naum KLEIMAN. The Rules of the Game (Approaching Eisenstein’s Drawings). On drawing as the most essential and sincere way of artistic self-expression for Eisenstein, on a drawing game as a question of vital importance. «...Mon Principe—If It’s Forbidden—Then It Doesn’t Exist for Me Anymore!» From the letters of S.M.Eisenstein to his mother. 1918-1919. (Publication, introduction and comments by V.V.Zabrodin). A unique and sometimes considered as the only one source of information on the reasons and circumstances that made Eisenstein to work in art, on how his artistic views were formed. Maxim LEUSHIN. «Eisenstein Isn’t to Be Trusted by His Comrades in the Soviet Union». On a correspondence between Joseph Stalin and Upton Sinclair. The first complete publication of Sinclair’s letters to Stalin as well as the Stalin’s reply regarding the filming of « Que Viva Mexico!» and repressions that several Soviet filmmakers had to live under. Sergei KAPTEREV. Sergei Eisenstein—Orson Welles. Some Circumstances of an Opinion Exchange. An investigation of various aspects of thematic and formal affinities between Citizen Kane and Ivan the Terrible, as well as of the historical / cultural context of their production. The article is followed by unique documents published for the first time: the comments by Welles on Ivan the Terrible fist printed in The New York Post in 1945, and Eisenstein’s letter to Welles written after seeing Citizen Kane in the same year. EXPERIENCE Natalia ADAMENKO. Dmitry Meskhiev and Poetic Realism in the film Long Happy Life. The only one directorial project of the famous poet and screenwriter Gennady Shpalikov (1937-1974), shot in 1966 by an outstanding director of photography Dmitry Meskhiev (1925-1983), turned out to be one of the most unusual events in Soviet cinema. The article elaborates on an innovative film poetics, its imagery and reminiscences from L’Atalante by Jean Vigo. Naum AVRUNIN. «I Like to Cope with Difficult Tasks». About Valerii Fedosov, director of photography. Valerii FEDOSOV (1941-1990) was one of the best Russian cinematographers of the seventies and the eighties. He filmed Twenty Days without War (1976, directed by A.German), Believe It or Not (1983, directed by S.Ovcharov), My Friend Ivan Lapshin (1984, directed by A.German), Opposition (1985, directed by S.Aronovich), It (1989, directed by S.Ovcharov). The article provides an analysis of his work and aesthetic principles; it includes fragments from the author’s interviews with him. Yakov BUTOVSKY. Nestor Almendros: Man with the Movie Camera. Francois TRUFFAUT. The Light of Nestor Almendros. Nestor ALMENDROS. Some General Observations. Chapter from the book Man with the Movie Camera. It’s unfortunate that directors of photography do not write on their trade very often. Nestor ALMENDROS (1930-1992, worked in France and the United States) is one of the few exceptions to the rule. In his autobiographical book Man with the Movie Camera (1980) he examines the new methods of expressive film imagery discovered and developed by cinematographers of the sixties and the seventies. This publication includes the chapter from his book with an introduction written by F.Truffaut, and an article on Almendros by Y.Butovsky. CINEMA MUSEUM Natalia FOKINA. Lev Kulidzhanov. Learning the Trade. Chapters from the book on film director Lev KULIDZHANOV (1924-2002), written by his wife, screenwriter Natalia Fomina. The chapters describe the youthful years in filmmaker’s life, his study at the National Film School (VGIK) in the fifties. EARLY CINEMA Svetalana SKOVORODNIKOVA. Department of Science of the Joint-Stock Company «A. Khanzhonkov and Co». A historical portrait of the most prominent producer of educational films in pre-revolutionary Russia. N.V.BAKLIN. Memoirs about Pre-revolutionary Period in Cinema. B.V.DUSHEN. Brief Memoirs. N.V.BAKLIN, А.G.KALASHNIKOV. The First Steps of Educational Film in Russia. Memoirs of the first directors and producers of educational films in Russia, which explore many unknown facts and details from the history of Russian cinema. Supplement 1 Catalogues of Educational Films «Khanzhonkov and Co». —Russian Agriculture (1916). —Russian Geography (1918). —A List of Film for the General Distribution/Exhibition (1918). —Catalogue of the Department of Science «A. Khanzhonkov and Co». (Publication and introduction by A.S.Deryabin). The unique catalogues of educational films made or purchased abroad for domestic distribution by the Department of Science of one of the first and the largest film companies in Russia. «Fighting the National Disease...». The materials for the history of film Hard Drinking and its Result. (Publication, introduction and comments by R. M. Yangirov). The selection of unknown documents about the film against alcohol abuse which became a top leader of the box-office in Russia in 1912. Supplement 2 Samuel LURIYE. A Page of History. Educational and Scientific Film (1927). (Publications and comments by S.V.Skovorodnikova). Samuel Victorovich LURIYE (1872-1944) is a prominent figure in early Russian film, a journalist, an editor of the first Russian film journal Cine-fono (1907-1918). In this article he writes about pre-revolutionary organizations and societies that showed educational films and arranged scientific lectures for the film audience. Rashit YANGIROV. «Film Hater» in the Service of the Educational Screen. Alexander KUGEL. Public Speaker with Pictures.—How I Was a Lecturer in Cinema (Publication and comments by R.M.Yangirov). Alexander (Abraham) Rafailovich KUGEL, critic and publicist (1864-1928, pen-name Homo Novus) edited an influential pre-revolutionary journal Theater and Art, supervised the theater «The Crooked Mirror» in 1908-1928. In spite of his «film hater» reputation, with his contributions on cinema he influenced the views of many film and theatre artists before the revolution. In the early post-revolutionary years Kugel lectured in the theaters before the film shows; his vivid and sarcastic essay brings these days back to the reader (it’s published in two version—the author’s and the one that was published in 1925). A TOPIC FOR RESEARCH Olga POTEKHINA. Early German Cinema: Themes, Genres, Trends An article on the period in German cinema which didn’t receive sufficient examination; it’s concentrated on the rare and not easily accessible films and documents. CAREERS AND ADVENTURES IN CINEMA Vladimir GOLUBEV. Notes of a Film Buff. The memoirs of a cinephile-veteran about the forbidden Soviet films, which in the USSR could be seen only by the lucky few, and about the foreign films, which were shown only at the film festivals, the week-long retrospectives of foreign cinema or special screenings for the elite. Many interesting details and observations make this material necessary for studying the historical reception of film. Our authors |
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