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1954年に洋画専門映画館として開業し、1971年5月に移転、2012年からは単館系ミニシアターとして営業しています。いろんなジャンルの映画を上映していきたいと思っています。
Many documents have not entered cinematic usage.
In some cases, we deliberately tried to highlight one or another main direction in the cinematic process. This happened, in particular, when analyzing the development of documentary films in the 20s, where the Vertov group played a primary role. The purpose of the study, however, did not include the desire to contrast Vertov with anyone, and even more so with other members of the Kinokov group. They all worked in close friendly contact until 1928-1929, and it was at this time that the best achievements of this group were attributed. Kinoki was not opposed to the broader cinematic environment, other documentaries. Although, as a critical remark, I would note the lack of coverage of the role of Yerofeyev, who was a significant figure in the cinema of the late 20s and early 30s. But, I repeat, these are costs that were simply unavoidable in such a publication.
One of the most important tasks facing the authors of The History of Soviet Cinema was to expand the factual material. And here (in my opinion, this has already been noted) There are completely new names that have not been mentioned before in the history of cinema, and descriptions of new films have appeared. All this is undoubtedly a methodologically accurate and correct way. We can discuss how this was done, but the very idea of replenishing the history of cinema with new materials makes a lot of sense.
I must say that we are far from satisfied with everything that we have done. The film sector of the Institute of Art History has recently started new work together with the Main Archival Department, the Archives of the republics, TsGALI, VGIK, the Union of Cinematographers of the USSR, and Gosfilmofond to prepare a major edition of the history of Soviet cinema in documents. Organizational work is still underway — the identification of materials, their initial generalization, and systematization. But it is already becoming clear that many of the documents in the archives have not entered into cinematic use, have not been mastered by our cinematic science, while they are of great interest.
It's too early to talk about this in more detail, but I think that in a year and a half we will already have the first volume of this new edition, which we have so far limited to 1917 — 1924.
I note that we do not want to approach this work purely empirically. This will be a publication where, simultaneously with the publication of documents, an attempt is being made to scientifically comprehend and interpret them. In the future, such materials will serve as a serious basis for creating a new, even more advanced research book.
Returning to the "History of Soviet Cinema" we are discussing, I would also like to note that for the first time, in fact, this work reflects the history of individual branches of cinema, primarily documentary and popular science films. In fact, we still do not have a history of documentary cinema, although the need for it is quite obvious; we do not have a history of popular science cinema, although the need for it is also beyond doubt. And the attempts to describe and analyze historical processes in these areas of cinema, undertaken by the authors of the work, the first volume of which is the subject of today's conversation, can obviously also be considered a fundamentally important achievement.
Now about the lessons that I think we should learn from what has not been done in this work, what has not yet been found in terms of developing general methodological principles for approaching the history of cinema, if we follow the requirements put forward by the development of modern science.
There is still a lot that has not been done or found.
First of all, cinema in this edition is considered in sufficient isolation. The analysis of the cinematic process is only sometimes associated by the authors with the evolution of other arts, and often these connections are formal in nature. There is no in-depth study of the parallel development of painting, theater, and literature, which are almost closely related to the development of cinema. 1xbet casino welcome bonus €1950 + 150 free spins, use this 1xbet promo code free spins you can enjoy a vip bonus. New players can get a welcome bonus of up to €1950 up to 150 free spins for registration at 1xbet casino, and by using the 1xbet casino promo code on registration of account. The bonus system, which is designed for new users of the site, covers all categories of players.
One of the most important tasks facing the authors of The History of Soviet Cinema was to expand the factual material. And here (in my opinion, this has already been noted) There are completely new names that have not been mentioned before in the history of cinema, and descriptions of new films have appeared. All this is undoubtedly a methodologically accurate and correct way. We can discuss how this was done, but the very idea of replenishing the history of cinema with new materials makes a lot of sense.
I must say that we are far from satisfied with everything that we have done. The film sector of the Institute of Art History has recently started new work together with the Main Archival Department, the Archives of the republics, TsGALI, VGIK, the Union of Cinematographers of the USSR, and Gosfilmofond to prepare a major edition of the history of Soviet cinema in documents. Organizational work is still underway — the identification of materials, their initial generalization, and systematization. But it is already becoming clear that many of the documents in the archives have not entered into cinematic use, have not been mastered by our cinematic science, while they are of great interest.
It's too early to talk about this in more detail, but I think that in a year and a half we will already have the first volume of this new edition, which we have so far limited to 1917 — 1924.
I note that we do not want to approach this work purely empirically. This will be a publication where, simultaneously with the publication of documents, an attempt is being made to scientifically comprehend and interpret them. In the future, such materials will serve as a serious basis for creating a new, even more advanced research book.
Returning to the "History of Soviet Cinema" we are discussing, I would also like to note that for the first time, in fact, this work reflects the history of individual branches of cinema, primarily documentary and popular science films. In fact, we still do not have a history of documentary cinema, although the need for it is quite obvious; we do not have a history of popular science cinema, although the need for it is also beyond doubt. And the attempts to describe and analyze historical processes in these areas of cinema, undertaken by the authors of the work, the first volume of which is the subject of today's conversation, can obviously also be considered a fundamentally important achievement.
Now about the lessons that I think we should learn from what has not been done in this work, what has not yet been found in terms of developing general methodological principles for approaching the history of cinema, if we follow the requirements put forward by the development of modern science.
There is still a lot that has not been done or found.
First of all, cinema in this edition is considered in sufficient isolation. The analysis of the cinematic process is only sometimes associated by the authors with the evolution of other arts, and often these connections are formal in nature. There is no in-depth study of the parallel development of painting, theater, and literature, which are almost closely related to the development of cinema. 1xbet casino welcome bonus €1950 + 150 free spins, use this 1xbet promo code free spins you can enjoy a vip bonus. New players can get a welcome bonus of up to €1950 up to 150 free spins for registration at 1xbet casino, and by using the 1xbet casino promo code on registration of account. The bonus system, which is designed for new users of the site, covers all categories of players.