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SUMMARY
GOSFILMOFOND: ACCOMPLISHMENTS AND PEOPLE Klara ISAEVA. We were the first ones Mark ZAK: “We, the critics, are the keepers of the fire.” Interviewed by Tamara Sergeeva, afterword of Tatiana Simacheva Yurii GREIDING. “The Thaw” at GFF. Daily life and being Irina BORINEVICH-ROSKINA. For us, cinema was the reality Natalia YAKOVLEVA. 1976 and later The authors of this section: Klara Isaeva, Mark Zak, Yurii Greiding, Irina Borinevich-Roskina, and Natalia Yakovleva—recall the four eras in the existence of Gosfilmofond. A p p e n d i x Galina POPOVA. About Aleksandr Dmitrievich Orlov. Notes on the pre-history of Gosfilmofond On the attempt of A.D. Orlov to create a film storage facility in the early 1930s.
THE ART OF CRITICISM The Belye Stolby school of film studies. Naum Kleiman Viktor DEMIN. “The house with the mezzanine” Naum KLEIMAN. The prologue: “Left foot” .—A tragico-romantic view.—A familiar stranger Miron CHERNENKO. Parallel lines must meet.—A story of one operation.—“A nasty anecdote.”— “Brief encounters.”—Oleg Efremov Vladimir DMITRIEV, Valentin MIKHALKOVICH. “The nutty professor” Aleksandr ALEKSANDROV. “Down with papa’s cinema!” Some observations and thoughts The section is compiled from the early critical experiments of the sixties’ film scholars, young employees of the research departments of Gosfilmofond.
EXPLORATION. ARCHIVES Adrian PIOTROVSKII. A sailor from Aurora. Introduction and publication of Sergei Ogudov “The state official” by Ivan Pyriev. Transformations on the way to the screen. Introduction, publication, and commentary by Evgenii Margolit Sergei Ogudov publishes Adrian Piotrovskii’s screenplay “A sailor from Aurora” from the GFF archive; Evgenii Margolit presents documents from the dossier of Ivan Pyriev’s film “The state official,” kept in the State Film Archive and shedding light on the history of the film’s ban, reworking, and release.
EXPERIENCE Anna KOVALOVA. World War I and pre-Revolutionary Russian Cinema The author of the article presents an evidence-based refutation of the widespread opinion that the First World War contributed to the development of Russian pre-revolutionary cinema. Natalia NUSINOVA. Mayakovsky and FEKS. Towards the history of the making of the play “The Bedbug” and the film “Alone” “Filmmakers were in general cruel to Mayakovsky’s scripts. In this sense, Kozintsev and Trauberg were not an exception. However, it turns out that a brief experience of working with Mayakovsky left its mark on their films,”—this is the conclusion of the author of this extensive study. Alisa NASRTDINOVA. Towards the history of re-editing of foreign films in the USSR: “The Godless Girl” by Cecil B. DeMille The last silent film by Cecil B. DeMille arrived into the Soviet Union in 1929 and remained in distribution until 1934. “During five years in the land of the Soviets, the film underwent significant changes: it acquired a new title, was significantly reduced in footage and first changed its religious message to an anti-religious ideology, and then became a social problem film about education.” Olga DOMBROVSKAIA. The musical avant-garde of Shostakovich in the early 1950s. On the score for the film “Rimsky-Korsakov” Artem SOPIN. On the reworking of the film “Rimsky-Korsakov” The paper of Olga Dombrovskaia looks at the story of the invitation of Dmitry Shostakovich to be the musical director of the film “Rimsky-Korsakov” (1952) by Grigorii Roshal; the article by Artem Sopin discusses the reasons behind and the context of the film’s reworking after its completion.
RESEARCH AND DISCOVERIES Petr BAGROV. New finds in Gosfilmofond On the finds, discoveries, and re-attributions in the Russian State Film Archive over the last decade.
PERSONALIA Anna KOVALOVA, Albin KONECHNYI. A.Ya.Alekseev and the cinema The authors of the article introduce the theme of cinema-related activity of the theater director, artist, and playwright Aleksei Yakovlevich Alekseev.
IN MEMORIAM Vyacheslav Vsevolodovich Ivanov (1929–2017) and Hans-Joachim Schlegel (1942–2016)
PROCESS Elizaveta BOBRIKOVA. Film archive as a mediator of history After analyzing the activities of three major archives: the Russian State Film Archive (Gosfilmofond), the Belarusian State Archive of Film and Photo Documents (BGAKFFD), and the Film Archive “Petersburg-Kino,”—the author proposes a fundamentally new cinematheque-attraction, which will take into account the possibilities of new technologies, and which should become “a space of new encounters with cinema,” with popularization of archival cinema and various interactive projects.
FILM TEXTOLOGY Martin KOERBER. New notes on the restoration of “Metropolis.” Translation by Yurii Muravskii Richard KOSZARSKI. Reconstructing “Greed”: How long and what color? Translation by Artem Sopin Adelheid HEFTBERGER. The sixth part of the frame.—Vertov’s “Man with a Movie Camera restored." Translation by Natalia Ryabchikova Artem Sopin. “Taras Shevchenko.” The censorship history of Igor Savchenko’s film The articles in this section consider various circumstances of the appearance of various versions of the selected films; in the first three cases, the principles of their reconstructions are discussed as well.
EISENSTEIN READINGS Naum KLEIMAN. “Que viva Mexico!”: The fate of the film footage In order to make informed decisions about the future fate of the surviving material “Que viva Mexico!” by Eisenstein, Aleksandrov, and Tisse, it is necessary to understand what the previous attempts to “finish” the film can show and teach us. The collection of articles and letters published here is connected to the two different and achieved at different times results of such attempts; it shows that they, too, were influenced not only by the “objective circumstances” of 1933 and 1977 in the USA and in the USSR, but, to no lesser extent, by the convictions, methodological attitudes, and subjective motivations of the participants of these “experiments of reconstruction.”
LOST FILMS Vsevolod Meyerhold. “The picture of Dorian Grey.” Introduction, publication, and commentary by Ekaterina Ivanenko and Anna Dautova The first publication of the literary script of the lost film by Vsevolod Meyerhold and the list of its intertitles compiled by the director. The publication also includes excerpts from the 1915 film periodicals: “around ‘The Picture of Dorian Gray.’” Lost films. Introduction by Petr Bagrov “The song of the first girl.”—“The path of enthusiasts.” Introduction and publication by Evgenii Margolit The purpose of the “Lost films” project is to collect the maximum possible amount of material about nonextant films in order to create a more complete history of cinema. Petr Bagrov presents the project and publishes the rating of film experts determining, information about which lost films is most in demand. The publications by Evgenii Margolit are the first samples of the project.
INTERLOCUTOR “The freedom we choose.” The conversation between the director and cameraman Naum Gerasimovich Avrunin and the cameraman Anatolii Petrovich Lapshov A professional dialogue of two well-known cameramen about craft and craftsmanship.
EXPERIENCE (PARALLELS) Olga POTEKHINA. The EYE Film Institute Netherlands in Amsterdam. A unique collection. The revival of color in early silent cinema The study examines the collection of the EYE Film Institute Netherlands, formed over the period of seventy years and reflecting the most important stages of world cinema. Many of its collections are unique, like, for example, the Desmet collection and the largest collection of Dutch films, starting from 1898. «The digitalization as an archival problem. An Experience of the Central Europe»Tereza FRODLOVÁ. A hundred times in a different way. Variability in the history of cinema and in archival practice. “The existence of numerous and diverse versions of films is an integral part of the history of cinema and is closely associated with the material basis of the cinema and the specific circumstances that accompanied the work on the picture and its distribution. Today, the existence of multiple variants incessantly challenges the specialists who are engaged in the restoration and popularization of archival heritage.”
Eszter FAZEKAS. Pitfalls of cinema canons. The case of the Hungarian National Film Archive. On the history of the restoration activities of the Hungarian Film Archive from 1989 to 2015.
Miloslav NOVÁK. An essay on small causes and big effects. Digital restoration of Czech films in the European context. The article deals with the most frequent problems of the contemporary digital restoration of films. Introduction and translation by Viktoria Levitova
DOCUMENTS AND COMMENTARY Aleksandr GONCHARENKO. The eyes of the party. One discussion of the film “Chapaev” in 1934 The study is based on an unpublished document “The discussion of the film ‘Chapaev’,” which is preserved in the collection of the literary organization Vseroskomdram (All-Russian Society of Playwrights and Composers) in the Manuscript Department of the Institute of World Literature (IMLI) of the Russian Academy of Sciences. The document includes a transcript of speeches by cultural figures and participants of the Civil War at the discussion that took place in The House of Soviet writers on 29 November 1934. |
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является незаконным.