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«История российского кино. Рождение мифа». Эпизод 1 (History of Russian cinema episode 1)

Искусство кино・2 minutes read

Vladimir Kocharyan's film examines the historical patterns of Russia's tragedies through the evolution of its cinema, which began in the late 19th century and faced various cultural and political challenges, culminating in significant advancements during the Soviet era. The transition from silent films to sound cinema marked a transformative period, showcasing filmmakers' adaptation to state demands and the merging of entertainment with ideological education.

Insights

  • Vladimir Kocharyan's film serves as an educational exploration of the historical patterns that have led to Russia's tragedies, emphasizing its intent for non-commercial distribution to enhance understanding rather than profit.
  • The inception of cinema in Russia in 1896 marked a significant cultural shift, with the first movie theater, "Electro-theater," established on Red Square, reflecting the public's growing fascination with modern technology and cinematic entertainment.
  • Early Russian cinema struggled for artistic legitimacy, as filmmakers often juggled multiple roles, and the rivalry between pioneers like Alexander Drankov and Alexander Khanzhonkov drove rapid innovation and competition in storytelling and production techniques.
  • Women played a vital role in shaping early Russian cinema, with figures such as Elizaveta Timan contributing significantly as producers and editors, and actresses like Zoya Barantsevich balancing their careers in acting and writing, showcasing the industry's diversity.
  • The outbreak of World War I catalyzed a shift in Russian cinema, leading to increased domestic film production as filmmakers responded to the public's desire for escapism amid the war, while also intertwining cinema with societal issues through fundraising efforts for soldiers.
  • The establishment of the world's first film school, VGIK, in 1919 under Vladimir Gardin, marked a pivotal development in Russian cinema, creating a structured environment for nurturing future filmmakers and fostering a blend of creativity and state influence.
  • The late 1920s saw the rise of state-controlled cinema under the Bolshevik regime, where filmmakers were compelled to align their narratives with ideological goals, leading to a focus on straightforward storytelling that promoted collectivization and industrialization.

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Recent questions

  • What is the history of Russian cinema?

    The history of Russian cinema dates back to 1896 when it was introduced shortly after the Lumière brothers' debut in Paris. Early films were primarily produced by foreign cameramen using imported equipment, and the first Russian movie theater, the "Electro-theater," was established on Red Square. Initially, cinema was not recognized as an art form, and filmmakers often took on multiple roles, including producing and directing. Pioneers like Alexander Drankov and Alexander Khanzhonkov played significant roles in shaping the industry, with Drankov's "Stenka Razin" being the first film aimed at the domestic market. The rivalry between these pioneers led to rapid developments in filmmaking techniques and storytelling, setting the stage for the evolution of cinema in Russia.

  • How did World War I affect Russian cinema?

    World War I had a profound impact on Russian cinema, marking a turning point in the industry. As foreign films were replaced by domestic productions, filmmakers began to create content that resonated with the public's desire for escapism during the war. The increased demand for films led to a surge in movie attendance, with audiences seeking distraction from the harsh realities of war. Filmmakers like Alexander Khanzhonkov even converted theaters into military hospitals, reflecting the intertwining of cinema and societal issues. The war also prompted the production of films that depicted military themes, as seen in works like "The Dying Swan" (1916). This period ultimately laid the groundwork for the transformation of Russian cinema in the post-war era.

  • What role did women play in early Russian cinema?

    Women played a crucial role in the development of early Russian cinema, contributing significantly as producers, managers, and editors. Figures like Antonina Khanzhonkov and Elizaveta Timan were instrumental in shaping the industry during the early 1900s. Timan, in particular, collaborated with director Yakov Protazanov on the film "Departure of a Grand Old Man," showcasing women's involvement in creative projects. Additionally, women known as "splicing girls" were responsible for editing films, assembling shots, and adding captions, which were essential tasks in the filmmaking process. The presence of female novelists and actresses further enriched the cinematic landscape, as they often adapted their works for the screen and balanced careers in both acting and writing.

  • What innovations emerged in Soviet cinema during the 1920s?

    The 1920s marked a period of significant innovation in Soviet cinema, characterized by the emergence of new filmmaking techniques and narrative styles. Directors like Sergei Eisenstein and Dziga Vertov pioneered innovative editing methods, such as the Kuleshov effect, which manipulated viewer perception through the juxtaposition of shots. Films like "Man with a Movie Camera" showcased groundbreaking techniques that emphasized the unique storytelling capabilities of cinema. The avant-garde movement also flourished, with filmmakers experimenting with visual language and narrative structures. Additionally, the introduction of sound cinema began in this era, culminating in the release of "Road to Life" (1931), which was initially intended as a silent film but incorporated sound during production, marking a significant technological shift in filmmaking.

  • How did the Bolshevik regime influence Russian cinema?

    The Bolshevik regime had a profound influence on Russian cinema, viewing it as a vital tool for propaganda and communication. Following the revolution of 1917, filmmakers faced challenges from state censorship and were often required to produce content that aligned with the regime's ideological goals. The establishment of the world's first film school, VGIK, in 1919, aimed to train filmmakers within a rigid state structure while fostering creativity. The regime emphasized ideological education through cinema, leading to the creation of films that resonated with the public's experiences. Additionally, the implementation of the first five-year plan required filmmakers to promote collectivization and industrialization, resulting in straightforward narratives that adhered to state demands, ultimately shaping the direction of Soviet cinema during this transformative period.

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Summary

00:00

Evolution of Early Russian Cinema and Industry

  • The film, directed by Vladimir Kocharyan, explores the historical patterns leading to Russia's recurring tragedies and is intended solely for educational distribution, without monetization.
  • Cinema was introduced to Russia in 1896, shortly after its debut in Paris by the Lumière brothers, with early Russian films being produced by foreign cameramen using imported equipment.
  • The first Russian movie theater, called "Electro-theater," was established on Red Square, highlighting the era's fascination with modern technology and theatrical entertainment.
  • Early Russian cinema was characterized by a lack of artistic recognition, as it was primarily viewed as a novelty rather than a legitimate art form, with filmmakers often doubling as producers and directors.
  • Pioneers of Russian cinema, such as Alexander Drankov and Alexander Khanzhonkov, played crucial roles in developing the industry, with Drankov known for his opportunistic business tactics and Khanzhonkov for his artistic ambitions.
  • Drankov's 1908 film "Stenka Razin" is noted as the first Russian movie made for the domestic market, featuring a soundtrack composed by the director of the Moscow Conservatory and a marketing strategy that included descriptive posters.
  • The rivalry between Drankov and Khanzhonkov led to quick imitations of each other's films, with both striving to be the first to release new stories to theaters, as audience interest was fleeting.
  • Khanzhonkov's productions, such as "Defense of Sevastopol" (1911), showcased meticulous historical accuracy, involving real soldiers and military resources, which he secured through royal approval.
  • The film industry in Russia began to flourish despite initial state indifference, with the first professional cinema magazine, "Cine-phOno," emerging in 1907 to cater to theater owners and distributors.
  • By the early 1910s, cinema was evolving into an industry rather than an art form, with influences from French filmmakers who aimed to elevate cinematic standards through elaborate productions and serialized storytelling.

14:00

Women and Stars in Early Russian Cinema

  • Women played a significant role in the early development of Russian cinema, with figures like Antonina Khanzhonkov and Elizaveta Timan contributing as producers and managers in the film industry during the early 1900s.
  • Elizaveta Timan is noted for her collaboration with director Yakov Protazanov on the 1912 film "Departure of a Grand Old Man," which was ultimately not released due to opposition from Leo Tolstoy’s family.
  • Female novelists, such as Anna Mar, frequently had their works adapted for the screen, while actresses like Zoya Barantsevich balanced careers in acting and writing, often creating content for themselves.
  • In the early years, editing was primarily performed by women, known as splicing girls, who were responsible for assembling shots, adding captions, and creating the final film structure, as men entered the profession later.
  • The arrival of international stars like Max Linder in 1913 sparked mass hysteria in Russia, changing public perceptions of cinema and introducing the concept of a movie star, distinct from mere actors.
  • Asta Nielsen, the first European movie star, captivated audiences with her performance in "The Abyss" (1910), particularly noted for her sexually charged dance scene, leading to public demand for re-releases of her films.
  • The early 1910s saw the emergence of a star system in Russian cinema, with local stars like Vera Kholodnaya and Ivan Mozzhukhin gaining popularity, as evidenced by the mass production of postcards featuring their images.
  • Initially, professional Russian actors were hesitant to embrace film, viewing it as lowbrow entertainment, which led to a reliance on ex-theater actors who found success in cinema, despite its initial stigma.
  • Ivan Mozzhukhin became a prominent figure in early Russian cinema, known for his versatility and ability to convey emotions effectively, often remembered for his expressive performances and ability to cry on cue.
  • Yevgeny Bauer, a key director of the era, utilized innovative techniques in his films, such as deep stage compositions and expressive camera movements, which enhanced the visual storytelling and audience engagement in works like "A Life for a Life" (1916).

23:12

Evolution of Russian Cinema in the 1910s

  • In the early 1910s, close-ups in films were considered economically unviable, with producers preferring full-body shots, as illustrated by a producer's remark about wanting to see actors in full growth rather than close-ups, as seen in "A Life for a Life" (1916) directed by Yevgeny Bauer.
  • The introduction of close-ups became more common at Timan’s film studio due to the efforts of directors like Gardin and Protazanov, with notable examples including Protazanov's close-ups of actor Mozzhukhin in "The Queen of Spades" (1916).
  • Wladyslaw Starewicz, known for his innovative animation techniques, created "The Cameraman's Revenge" (1912), where insects parody early 1910s plots, showcasing the self-reflective nature of cinema and the crumbling of the fourth wall.
  • The early 1910s saw the development of film language, with significant advancements in editing, close-ups, camera movement, and story structure, culminating in a new cinematic experience exemplified by "Man with a Movie Camera" (1929) directed by Dziga Vertov.
  • By 1910, Moscow had around 80 movie theaters, with Tverskaya street hosting 10 stationary theaters, and films were often screened in unsuitable locations, posing fire hazards due to the flammable nature of film stock.
  • The outbreak of World War I in 1914 marked a turning point for Russian cinema, as domestic films began to replace foreign imports, leading to increased production and the introduction of war taxes on movie tickets to support the war effort.
  • Filmmakers like Alexander Khanzhonkov converted theaters into military hospitals during the war, while actors and producers, including Vera Kholodnaya, collected donations for wounded soldiers, reflecting the intertwining of cinema and societal issues.
  • The war led to a surge in movie attendance, with audiences preferring to escape into films rather than confront their realities, prompting filmmakers to produce more content, as seen in "The Dying Swan" (1916) directed by Yevgeny Bauer.
  • The deaths of prominent figures like Yevgeny Bauer and Vera Kholodnaya in the late 1910s symbolized the end of the pre-revolutionary cinema era, with Kholodnaya's funeral filmed, marking a poignant moment in Russian film history.
  • The revolution of 1917 catalyzed a transformation in Russian cinema, leading to a new editing style that discarded the past, as seen in "October" (1927) directed by Sergei Eisenstein, and ushered in a period of rapid growth and innovation in the film industry.

33:51

Soviet Cinema's Evolution Amidst Turmoil

  • The transition to Soviet cinema was marked by significant challenges, with long queues for movie tickets comparable to those for bread, indicating a strong public desire for entertainment during the tumultuous period of 1917.
  • Filmmakers learned to create movies under difficult conditions during the Civil War, with notable works like "October" (1927) directed by Sergei Eisenstein and "Anniversary of the Revolution" (1918) by Dziga Vertov, which involved filming soldiers in combat.
  • Economic hardships severely impacted film production, leading to a lack of funds for equipment and film stock, prompting filmmakers to attempt to leave the country or hide films, with some even burying them underground.
  • By 1921, film production in Russia had nearly ceased, with only newsreel makers continuing to work, as the Bolsheviks recognized the importance of nationalizing communication channels, including cinema, to control the narrative.
  • The nationalization of the film industry was proposed as a grassroots campaign, with filmmakers gathering in proto-unions, and the Bolsheviks viewing cinema as a vital tool for propaganda and communication.
  • The world's first film school, VGIK, was established on September 1, 1919, under Vladimir Gardin, combining a rigid state structure with a creative atmosphere, and it became a significant training ground for future filmmakers.
  • The introduction of the New Economic Policy (NEP) allowed for the revival of private enterprises, which helped restore the film industry by enabling the import and screening of foreign films, filling Soviet screens with previously unavailable content.
  • Editing foreign films became a common practice, with filmmakers like Sergei Eisenstein and Esfir Shub reworking narratives to align with Soviet ideology, as they sought to learn the art of filmmaking through these exercises.
  • Lev Trotsky advocated for increasing film production to surpass the profits of the alcohol industry, highlighting the potential of cinema as a profitable and socially beneficial medium.
  • The "Rus" film factory, led by Moisei Aleinikov, successfully integrated into the Soviet film production system, demonstrating the adaptability of pre-revolutionary filmmakers and the evolving nature of cinema in Russia during the early Soviet era.

45:41

Soviet Cinema's Evolution in the 1920s

  • "Chess Fever" (1925), directed by Vsevolod Pudovkin and Mykola Shpykovskyi, features a character named Aleinikov who invites Protazanov to a restaurant, showcasing the social interactions of the time.
  • In "The Tailor from Torzhok" (1925), directed by Yakov Protazanov, the protagonist writes to his wife, giving her the choice between Moscow or Berlin, indicating the mobility and choices available during that era.
  • "St. Jorgen's Day" (1930), also directed by Yakov Protazanov, is noted for its high quality, with every film from Protazanov in the 1920s being significant, starting from "Aelita" (1924) to "St. Jorgen's Day".
  • "Aelita" (1924) is recognized as one of the first Soviet films to challenge foreign genre films, combining ideological themes with a spectacle that appealed to a broad audience, despite its somber plot about escaping Earth.
  • The film "The Devil's Wheel" (1926), directed by Grigoriy Kozintsev and Leonid Trauberg, reflects the social upheaval of the 1920s, where social classes were shifting, leading to new cultural interactions.
  • "Man with a Movie Camera" (1929), directed by Dziga Vertov, exemplifies the peak of Soviet cinema in the 1920s, showcasing innovative filmmaking techniques that influenced future filmmakers.
  • The Kuleshov effect, developed by Lev Kuleshov, demonstrated how editing could manipulate viewer perception, using Ivan Mozzhukhin's face paired with different shots to convey varying emotions.
  • "The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks" (1924), directed by Lev Kuleshov, is a slapstick comedy that critiques Western perceptions of Soviet life, featuring an American character who transforms into a Bolshevik.
  • Dziga Vertov's concept of "kino-eye" aimed to capture life in ways the human eye could not, leading to groundbreaking films like "Man with a Movie Camera" that emphasized the unique storytelling capabilities of cinema.
  • Esfir Shub, a pioneer in editing and documentary filmmaking, created insightful films like "The Fall of the Romanov Dynasty" (1927) and "The Great Road" (1927), utilizing old footage to craft powerful narratives.

56:30

Soviet Cinema's Gender Collaboration and Innovation

  • The text discusses the contributions of both female and male directors in early Soviet cinema, highlighting a collaborative environment where gender did not dictate roles, featuring notable figures like Esfir Shub and Alexander Rodchenko.
  • In the film "The House on Trubnaya" (1928) directed by Boris Barnet, a woman's journey from a downtrodden country girl to a leadership role symbolizes social advancement, aided by a female union activist rather than a male figure.
  • "The Third Meschanskaya" (also known as "Menage a trois") written by Viktor Shklovsky, portrays a polyamorous relationship during a time of free love, showcasing Moscow's vibrant life and sparking scandals in Soviet Russia while achieving success abroad as "Bed and Sofa."
  • Vsevolod Pudovkin's "Mother" (1926) begins with domestic violence and evolves to depict the protagonist's transformation from a humiliated figure to a monumental presence, emphasizing the universality of violence across society.
  • The Soviet cinema avant-garde, represented by Sergei Yutkevich's "Lace" (1928), was driven by a young, diverse group eager to absorb global cultural achievements, despite lacking formal education in film.
  • Grigoriy Kozintsev and Leonid Trauberg founded the "Factory of the Eccentric Actor" (FEKS) in 1924, focusing on training film actors through a blend of circus, cinema, and cabaret, rejecting traditional theatrical influences.
  • Fridrikh Ermler's "Fragment of an Empire" (1929) explores the subjective experience of time through a character who loses his memory during the Civil War and struggles to adapt to the new Soviet reality, reflecting the broader societal upheaval.
  • Aleksandr Dovzhenko's "Earth" (1930) is noted for its visual language that influenced later filmmakers like Andrei Tarkovsky, showcasing a poetic representation of nature and human experience.
  • Sergei Eisenstein's films, including "Strike" (1925) and "Battleship Potemkin" (1925), emphasize collective experiences over individual narratives, using innovative editing techniques to evoke emotional responses and convey revolutionary themes.
  • Eisenstein's "Battleship Potemkin" achieved international acclaim, particularly in Berlin, where it was celebrated as a masterpiece, influencing modern filmmakers and becoming a cornerstone of cinematic history.

01:09:36

Evolution of Soviet Cinema from Silent to Sound

  • The use of color in a black-and-white film, exemplified by the red coat in Steven Spielberg's "Schindler's List," mirrors techniques from earlier works like Sergei Eisenstein's "Battleship Potemkin" (1925), showcasing a significant cinematic discovery from the 1920s to 1940s by filmmakers such as Kuleshov and Ermler.
  • Boris Svetozarov's "Tanka the Innkeeper" (1929) illustrates a shift in audience preference towards simpler narratives, contrasting with avant-garde films like "The New Babylon" (1929) by Kozintsev and Trauberg, which represented the pinnacle of experimental cinema.
  • The Bolshevik regime emphasized ideological education through cinema, leading to societal censorship where representatives of organizations like Komsomol reviewed scripts to ensure films resonated with the public's experiences, as seen in films like "Arsenal" (1929) by Dovzhenko.
  • Filmmakers faced challenges from both state censorship and competition with foreign stars like Douglas Fairbanks and Mary Pickford, whose 1926 visit to the Soviet Union generated massive public interest, leading to satirical films like "One from Many" (1927) that mocked this phenomenon.
  • The late 1920s saw the implementation of the first five-year plan, requiring cinema to promote collectivization and industrialization, resulting in the creation of Agitpropfilm, which focused on straightforward narratives without unnecessary digressions.
  • Directors like Lev Kuleshov were compelled to produce films like "Forty Hearts" (1931) about electrification, reflecting the broader trend of filmmakers being forced to conform to state demands, limiting their creative freedom.
  • The transition to sound cinema began in the late 1920s, with the first movie theater equipped with the Shorin sound system opening in Leningrad in 1929, showcasing early sound clips and marking a significant technological shift in filmmaking.
  • "Road to Life" (1931), considered the first Russian talking film, was initially intended as a silent movie but incorporated sound during production, leading to its immense success, running for a year and a half in Moscow theaters with full audiences.
  • Dziga Vertov's "Enthusiasm: The Symphony of Donbas" (1931) utilized synchronous sound to enhance the film's realism, while the development of sound cinema in the Soviet Union was marked by experimentation and the integration of sound recording techniques, culminating in a new era of cinematic expression.
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