СОДЕРЖАНИЕ

		AD GLORIAM
6		Наум КЛЕЙМАН —70
		ЮБИЛЕЙНОЕ ПРИНОШЕНИЕ
23		Заключительное слово Мей Ланьфана публикатор(ы) Ларс КЛЕБЕРГ
		МУЗЕЙ КИНО. ИЗ ЖИЗНИ ЗАМЕЧАТЕЛЬНОЙ ИДЕИ
26		1920–1930-е. Киномузей ГАХН. Из архива Г.М.Болтянского публикатор(ы) Светлана ИШЕВСКАЯ
43		1940-е. «Форсировать положение о музее». Подпись: Эйзенштейн публикатор(ы) Светлана ИШЕВСКАЯ
46		1950-е. Музей и Госфильмофонд. Из архива А.В.Мачерета публикатор(ы) Светлана ИШЕВСКАЯ
56		1980-е годы. «Киноцентр—это в основе Музей, такой же, как Бахрушинский, Литературный…» Из протоколов Музейной комиссии СК СССР, начало 1980-х гг. публикатор(ы) Нина ДЫМШИЦ
80		Наум КЛЕЙМАН «Идеальный музей кино» (беседу ведут Н.Дымшиц и А.Трошин), 2005 год
Приложение
111		Общая концепция российского Музея кино. Проект
		ЭЙЗЕНШТЕЙНОВСКИЕ ЧТЕНИЯ
135		С.М.Эйзенштейн в американской прессе двадцатых годов XX века (Публикация Н.Рябчиковой) публикатор(ы) Наталья РЯБЧИКОВА
161		Сергей ЭЙЗЕНШТЕЙН «…Пройти через всю вещь постановочно, съемочно, монтажно». Из педагогической практики С.М.Эйзенштейна
194		Андрей ФРОЛОВ Трактат. О творческом методе режиссера кинематографического Эйзенштейна Сергея Михайловича… (Публикации А.С.Трошина) публикатор(ы) Александр ТРОШИН
212		Мих. РОЗЕНФЕЛЬД На съемках фильма «Бежин луг» («Комсомольская правда», 1935)
		АРХИВЫ
228		Николай ЗАБОЛОЦКИЙ Приключения барона Мюнхгаузена. Сценарий к звуковому детскому фильму. 1935 г. (Публикация Н.Н.Заболоцкого, подготовка текста И.Лощилова, предисловие И.Лощилова и П.Багрова)
		ОПЫТ
255		Евгений МАРГОЛИТ Феномен агитпропфильма и приход звука в советское кино
		ИЗ НЕОПУБЛИКОВАННОГО
267		Петр БАГРОВ Об авторе книги и немного об ее герое
275		Николай ЕФИМОВ Евгений Червяков. Неопубликованная монография
		ИЗ ИСТОРИИ КИНОМЫСЛИ
320		Андре БАЗЕН Страницы критического наследия: «Запрещенные игры».—«Германия, год нулевой».—«Последние каникулы». (Перевод И.Г.Эпштейн)
		МАСТЕРСКАЯ
335		Борис ЛЮБИМОВ Феномен киноповести
361		Лидия КАНАШОВА Взгляд на поверхность вещей. Опыт чтения Белы Балаша
371		Артем СОПИН Об авторе песни к фильму «Одна»
374		Дарья КУРАКИНА-МУСТАФИНА Религиозная тема в фильмах Протазанова
377		Галина ШМАТОВА «Радуга» Донского: зона напряженного противоречия

CONTENTS

AD GLORIAM

A special issue of scientist magazine as anniversary gift to a scholar is old good academic tradition. Such gift is always a collection of materials which concerns and subjects of this scholar interested in.
We are happy to present this fascicle as a gift to our colleague, friend, authoritative film historian, a stalker to vast domain of Sergei Eisenstein intellectual heritage, a member of editorial board of our magazine and its permanent author Naum KLEIMAN in his seventieth birthday.

NAUM KLEIMAN—70

Greetings and anniversary essays from world-known film historians, culturologists, theorists, directors Mikhail YAMPOLSKIY, Victor LISTOV, Yuri TSIVIAN, Bernar EISENSCHITS, Hans-Joahim SCHLEGEL, Jean-Michel FRODON, Marlen KHUTSIEV, Yuri NORSHTEIN, Andrey KHRZHANOVSKIY, Ishtvan SZABO, Otar IOSELIANI.

ANNIVERSARY GIFT

A Conclusion by Mei Lan Fan (Publ. by Lars Kleberg).
Slavic scholar from Sweden Lars KLEBERG has a lot of studies in history of Russian theatre and film. And he is also a member of international editorial board of our magazine. In one of the first fascicles we printed his drama Aquarius. Basing on real fact Kleberg wrote half-fictioned dramas from lives of key persons in Russian culture of XXth century. One of dramas contains fictional discussion of Mei Lan Fan tour. When he had finished his work, Kleberg found in one of Moscow archives a real verbatim of Mei Lan Fan tour. And now we introduce his new find.

CINEMA MUSEUM. FROM A LIFE OF A WONDERFUL IDEA

1920s–1930s
Cinema Museum of GAKHN. From archives of Grigory Boltyanskiy.

1940s
«Speed up a situation with Museum». Signature: Eisenstein.

1950s

From archives of Alexander Macheret. (Publ. and prefaced by S.Ishevskaya).
A chronicle of foundation of Cinema Museum in Russia starts in revolutionary years. In 1922 film historian Grigory Boltyanskiy become an initiator of organization which he planned to be a typical film archives and also a collection of film culture objects. There are a brief history of the first film museum in our country in the mirror of documents.
Sergei Eisenstein filmography seldom includes a collective letter of film makers signed up by director. So it is more interesting to reprint. In conclusion there is a Museum project of 1958 which planned to cooperate cinema museum and national film archive.

1980s
«Film Center is a same Museum in it’s essence as Bakhrushinskii, Literary…» Verbatims of the Union of cinematographers’ Museum commission, 1980s. (Publ. and prefaced by N.Dymshitz).
In the beginning of 1980s Museum project was recalled. Nina Dymshitz was the academic secretary of the Union’s Museum commission, which had founded Moscow’s Cinema Museum in 1988. A collection of Museum commission verbatims she made reveals a process of old dream slowly coming true.

2005
Naum KLEIMAN: «An Ideal Cinema Museum» (Conversed by N.Dymshitz and A.Troshin) A Common Conception of Cinema Museum in Russia. A Project.
A conversation took place in summer 2005 when Russian State Cinema Museum was preparing to leave forcedly its building on Krasnaya Presnya. After the first demonstration in defense of Museum we asked Naum Kleiman to tell about Museum as such. To tell about its present and future. The project proposed by Kleiman is ideal dream and meanwhile absolutely real plan. The result of Kleiman’s thoughts is elaborate project, an official document which one day we hope to see fulfilled.

EISENSTEIN READINGS
Sergey Eisenstein on American press of 1920s. (Publ., prefaced and commented by
N.Ryabchikova)
It is generally agreed that in Sovet Union Eisenstein’s fame and reputation starts from the Battleship Potiom- kin premiere in Berlin. This opinion can be doubted but one thing is true: success in Berlin made Eisenstein’s reputation in USA.
This article selection includes texts which long before Eisenstein arrival in USA created his publicity. Written by John Grierson, Robert Rose, Lucita Squier and others a lot of texts is brief repeating of ideas expressed by the director on Russian. But in the same time some texts contain details which still are out of sight of Rus- sian reader. Copies of texts are preserved in Eisenstein’s archive and published on Russian for the first time (except text by Eisenstein).
«…To pass through the whole thing arrangemently, filmingly, montagely». From educational practice of Sergei Eisenstein.

Andrey FROLOV. A Treatise. Оn creative method of cinematographic director Sergei
Mikhailovich Eisenstein…(Publ. and commented by A.Troshin)

Mikh. ROSENFELD. On Bezhin Meadow shooting. (Komsomolskaya Pravda, 1935).
Educational practice of Sergei Eisenstein has been widely covered on pages of our magazine several times. In issues ## 68 & 72 his lectures in VGIK of different years were printed. In this issue there is a verbatim of diploma discussion. On the anvil graduates tell Eisenstein about their practice on set. All the students worked with such directors as Vsevolod Pudovkin, Jakov Protazanov, Alexander Dovzhenko, Grigoriy Roshal,
Mikhail Dubson and thus every student report is description of his supervisor’s persona. Four graduates worked in Eisenstein crew on Bezhin Medow shooting. Andrey Frolov, known director in 1940s, was one of them. His account about work with Eisenstein is also offered to our reader.
These texts supplied with a republication of report from Bezhin Meadow shooting, written by a journalist famous in 1930s.

АRCHIVES

Nikolai ZABOLOTSKIY. The Adventures of Baron Munchausen. A screenplay of unshooted sound film for children, 1935. (Publ. by N.N.Zabolotskiy, prefaced by I.Loschilov and P.Bagrov)
The team-work of writers and cinematographists is always inexhaustible theme of lively interest for historians of cinematography. The scenario remainded in the archive of the great Russian poet Nikolaj Zabolozkij is confirmation of this thesis. The film bazed on this scenario was never made for unknown reasons. But stories of such scripts creating their own plot in the history of Russian cinema…


EXPERIENCE

Evgeny MARGOLIT. Phenomena of agitpropfilm and sound film evolution in Soviet film.
By 1931 the agitprop pattern was officially almost approved in its entirety as the cinematographic canon it Soviet cinematography. Cinematographic industry went over to making a hybrid of fiction, documentary and popular science film for illustrating topical political slogans. The history of this specific genre and its influence on Soviet sound films of 30s you will find in the article by famous historian of cinematography.

OUT OF UNPUBLISHED

Piotr BAGROV. About This Book Author and A Little less about This Book Hero. Nikolai EFIMOV. Evgeny Chervyakov. Unpublished Monograph.
By all means Evgeny Chervyakov, the film director, is outstanding figure of Soviet cinematography. Here is the unknown monograph about him written by his contemporary, one of the first Russian cinematologists, Nikolaj Efimov—this cannot be uninteresting. It is of particular importance that this monograph conteins unique description of lost masterpieces of Chervyakov. This monograph was not intend for publishing and was recently found in the archive of St-Petersburg Insitute of Art History.

FROM THE HISTORY OF FILM THOUGHT

André Bazin. The Pages of Critical Heritage:
The Secret Game.—Germany Year Zero.—The Last Vacation.
«Kinovedcheskie Zapiski» published the article by Andre Bazen «Stalin Myth in Film» in its first issue. At a later time there were published another several articles (## 6, 17, 19, 27, 35, 40, 55) by the great French critic and theorist of cinematography. Now we are presenting a few articles by Bazen about films of René Clément, Roberto Rosselini, Roger Leenhardt from his book Qu’est-ce que le cinema? (Paris, 1958–1961). They were never published in Russian before. All the texts are translated by Isabella Epstein.

A WORKSHOP
Boris Lyubimov. A Phenomenon of Film-novel Genre.

Lidia Kanashova. A Look on of things. Reading Bela Balazs. Artyom Sopin. About the Author of Song from Odna

Darja Kurakina-Mustafina. A Religious Theme in Films by Protazanov.

Galina Shmatova. Rainbow by Donskoi:A Zone of Tense Antagonism.

This rubric presents an articles by young cinematologists, students of VGIK and RGGU. Here you will see new look on different aspects of cinema history and theory. Naum Kleiman is always very careful and thoughtful for new generations of cinema researchers, and this articles are also anniversary gift from grateful followers.