Soviet spreding of the cinema and film distribution during the second half of the 1940-ies. “Trophy movies” as the salvation of the film industry in the period of “malokartinye”

Servis plus ◽  
2015 ◽  
Vol 9 (3) ◽  
pp. 59-69
Author(s):  
Марина Косинова ◽  
Marina Kosinova
Keyword(s):  
Film Industry ◽  
Recovery Process ◽  
Movie Industry ◽  
Economic Problems ◽  
Political Propaganda ◽  
Soviet Film ◽  
Film Distribution ◽  
Soviet Cinema ◽  
Great Patriotic War ◽  
Post War

The article discusses the recovery process of the destroyed film industry during one of the most difficult periods — the post-war years. During the years of the great Patriotic war The Soviet urban chain lost more than 500 cinemas, located in major cities and industrial centers. Rural cinema network lost almost half of the cinemas (about 7000). The construction of new urban cinemas was carried out very poorly in the early postwar years; for 5 years only 77 theaters had been built. The film distribution, as spreading of the cinema, developed very slowly in the postwar years. In addition to purely economic problems, in these years our film faced difficulties of a different nature. Films shown on the Soviet cinemas were forcibly shifted in the direction of ideological and political propaganda that led to a narrowing of the genre and thematic range of the Soviet cinema. The results of the work of the film industry itself were also affected with the consequences of policy "malokartinye» the authorship of which is attributed to Stalin. The essence of it was a controversial idea: to spend on movies less money, but earn more. As a result the movie industry was in a very difficult position. In 1947 it was decided to release in USSR a lot of foreign films, announced «trophy». These films caused a lot of criticism on the part of Agitprop, and in fact, saved the Soviet film distribution in the late 1940s — early 1950s. Fascination with foreign «innovations» was inevitable: the decline of the Soviet film industry didn´t allow satisfying the screen with new Soviet films, and nobody reduced plan profits from film distribution to the Ministry of cinematography. A great help in further raising the income of film distribution was the expansion of old Soviet films. In addition, cinema directors took a rather ingenious attempt of the extension of the films shown on cinemas at the expense of shooting on film theatrical productions.

Soviet film distribution and demonstration in the era of “thaw”. The revival of the film industry.

Servis plus ◽  
2015 ◽  
Vol 9 (4) ◽  
pp. 17-26
Author(s):  
Марина Косинова ◽  
Marina Kosinova ◽  
Артур Аракелян ◽  
Artur Arakelyan
Keyword(s):  
Rural Areas ◽  
Film Industry ◽  
Operation Mode ◽  
Color Film ◽  
Qualitative And Quantitative ◽  
Artistic Value ◽  
Soviet Film ◽  
Film Distribution ◽  
Soviet Cinema

In the period of “thaw” (mid 1950s – mid 1960s), there is a sharp qualitative and quantitative growth of Soviet cinema. If in 1951 in the USSR was filmed just nine films which didn’t represent a high artistic value in the creative attitude, already in 1956–57, Soviet cinema shocked the whole world. In 1958 they released 66 new Soviet film, but by 1960 our film industry overcame the milestone of 100 films and continued to steadily increase the production. The growth of the film industry contributed to the cinema spreading and film distribution. In the years of “thaw” in the USSR cinema attendance exceeded 3 billion, compared to 1.5 billion in 1953. The Gross fundraising from screenings at state cinema chains increased to 5.5 million rubles in 1957, and throughout the hole cinema chain – up to 7.5 million rubles. On the 1st January 1958, the chain consisted of 80 thousand cinemas, including more than 50 thousand in rural areas. By this time, they had mastered new technical possibilities of cinema (wide-screen, panoramic, wide angle, circular panorama). They fully mastered color film. However, in the field of cinema there were still a lot of unresolved issues. Revenues from films increased annually in largely through the construction and commissioning of new cinemas, and due to the tightening operation mode of already active cinemas, contrary to their real capabilities. But cinema rigidly centralized administrative-command system which had been formed in the 1930s continued to operate until the perestroika in the Soviet. They sold films to the distributors as a “product” based on the amount of the estimated cost of the film. The Studio was lcompletely disinterested in the outcome of the promotion of the film, its success with the audience. Thus, they did not have a major driver in the fight for the quality of films. Numerous attempts of the Filmmakers ‘ Union, established in 1957, to change the existing system didn’t have the results. The only application of far-reaching ideas of the Union became an Experimental creative Studio.

Technical base of soviet cinema in the period of “stagnation”

Servis plus ◽  
2016 ◽  
Vol 10 (1) ◽  
pp. 70-80
Author(s):  
Марина Косинова ◽  
Marina Kosinova
Keyword(s):  
Soviet Union ◽  
Carrier Transport ◽  
Film Industry ◽  
Defense Industry ◽  
Technical Equipment ◽  
Difficult Situation ◽  
Soviet Film ◽  
Technical Base ◽  
The Soviet Union ◽  
Soviet Cinema

The article is devoted to such technical aspects of Soviet cinema as cinema spreading, film, movie taking and film equipment. We consider the activities of NIKFI [National Research film and photo institute] in the 1970s. One of the major problems in cinema spreading is a deep-rooted lag of the cinema network from the audience needs. There was not only few cinemas, but also there was less technical equipment which often left much to be desired. In addition, large one-hall cinemas, which always prevailed in the USSR, significantly narrowed the choice of repertoire. In the late 1970’s – early 1980’s in the Soviet Union there was dramatically reduced cinema building, while the number of urban residents continued to grow. Status of rural cinema network also left much to be desired: it was often increased at the expense of the reorganization of rooms poorly adapted for this purpose into cinemas. The technical base of the Soviet film industry has always been its Achilles heel. In our country, there was always a certain gap between the level of scientific research and their practical realization. The reason is that all the forces were at the defense industry. A huge number of people (even in “peaceful” factories there were often secret workshops) employs on the “defense industry”. So in many fields we had advanced science (because the “defense industry” science always moves forward) and backward production. The perversity of this approach negatively affected the efficiency of NIKFI. Laboratories operating according to the plans approved by Institute of State cinema were busy with works which were not directly related to the cinematography; as the result, every year the Soviet Cinema equipment remained more and more behind the world standards, equipment dilapidated and were gradually replaced by foreign novelties. Especially serious lag observed in a number of areas cinema techniques: in the projection, the developing and copying equipment, new types of imaging optics, carrier transport. The most difficult situation was in the production and development of new varieties of film. In the late 1970s and early 1980s the problem of the quality laid on the problem of the quantity. Soviet film industry began to have trouble with positive film, which resulted in a forced reduction in circulation of new films.

‘If we cannot laugh like that, then how can we laugh?’

2020 ◽  
pp. 42-83
Author(s):  
Anna Toropova
Keyword(s):  
Film Industry ◽  
Socialist Realism ◽  
Sense Making ◽  
New Paradigm ◽  
The Public ◽  
Soviet Cinema ◽  
Post War ◽  
Film Comedy

Elaborating an appropriate form of Soviet laughter was one of the most pressing tasks faced by the film industry in the 1930s. Increasingly sensitive to the ideological perils of failing to deliver more Soviet comedies to the public, industry bosses turned the development of this genre into a high priority. Such efforts, however, were persistently hindered by anxieties about facilitating the ‘mindless’ laughter of comic gags rather than the ‘meaningful’ laughter of triumphant celebration or satirical condemnation. Drawing on psychoanalytic readings of the comic, this chapter explores how the play with process of signification and disruption of habitual sense-making patterns became increasingly difficult to reconcile with the objectives of socialist realism. The thorny debates surrounding Konstantin Iudin’s two pre-war comedies, A Girl with Character (1939) and Hearts of Four (1941), are used to demonstrate the ways in which the project of creating film comedy based on Soviet material had come to a standstill by the beginning of the 1940s. The war against ‘mindless’ and ‘mechanical’ laughter pushed filmmakers to abandon the comic mode that had been so central to early Soviet cinema in preference for ego-affirming humour. The new paradigm of realistic comedy purged from the ‘excess’ of comic devices, however, little satisfied the expectations of Soviet audiences. Whilst the stultifying demands previously placed on the genre briefly eased as the Soviet public’s right to the ‘laughter of victors’ was granted after the end of WWII, the onset of the Zhdanovshchina brought post-war concessions in the sphere of comedy to a halt.

THE STATE OF THE SOVIET FILM INDUSTRY IN THE 1930s

2020 ◽  
pp. 187-197
Author(s):  
Anton Kozyryanov
Keyword(s):  
Soviet Union ◽  
Film Industry ◽  
Production Capacity ◽  
The State ◽  
Soviet Film ◽  
Soviet Art ◽  
The Soviet Union ◽  
Soviet Cinema ◽  
Long Time ◽  
Soviet Ideology

Soviet cinema of the 1930s has long been of particular interest for historians from Russia and abroad. For a long time in historiography, the Soviet art of the 1930s has been associated with the Soviet ideology and propaganda of the stated period. This topic was considered by the outstanding historians such as David Brandenberg, Boris Ilzarov, Yevgeny Gromov, Alexander Dubrovsky, Katerina Clark, etc. At the same time, in the studies on this topic, as a rule, focuses is made on the formation of Russian national ideology in the Soviet Union in the 1930s. In the center of historical research there are literature and cinema cultivating Russian national historical heroes. Besides, cinema comes to prominence in the 1930s. However, in historiography the state of the Soviet film industry in the proposed period is very poorly covered. This paper discusses the state of the Soviet film industry in the 1930s. Based on archival materials of the Main Department of Film Affairs, on the paperwork related to the development of the film industry, as well as memoirs of contemporaries, the author assesses the state of the Soviet film industry at the turn of the 1920s–1930s, as well as traces the development of the film industry in the 1930s. The author highlights the most significant problems of the Soviet cinema of the 1930s, as well as the main projects for solving these problems. Thus, this study makes it possible to assess the state and production capacity of the Soviet film industry in the 1930s.

scholarly journals Alternative Forms of Film Distribution and Exhibition in the USSR in the 1920's

2013 ◽  
Vol 5 (4) ◽  
pp. 6-20
Author(s):  
Marina Ivanovna Kosinova
Keyword(s):  
Film Industry ◽  
Film Production ◽  
Film Distribution ◽  
Soviet Cinema ◽  
Russian Film ◽  
The Revolution

The article deals with process of the reconstruction of Russian film industry after the Revolution. Special attention is paid to the problems of the repertoire policy under the near absence of domestic film production. The author also examines alternative forms of film distribution and exhibition (propaganda trains, steamboats, etc.), the principles of promotion the nascent Soviet cinema throughout the country.

Prokofieva Tamara Aleksandrovna: Engineer-topographer of the first rank

2017 ◽  
Vol 922 (4) ◽  
pp. 48-57
Author(s):  
V.L. Kashin ◽  
N.L. Kashina
Keyword(s):  
Soviet Union ◽  
Aerial Photography ◽  
The North ◽  
Moscow Institute ◽  
The Soviet Union ◽  
Great Patriotic War ◽  
Post War ◽  
Executive Positions

Biographic information about the veteran of geodetic service of the Soviet Union Tamara Aleksandrovna Prokofieva is provided in this article. On January 1, 2017, she turned 96 years old. T. A. Prokofieva’s biography is in many respects similar to destinies of her age-mates who met the Great Patriotic War on a student’s bench. In 1939 she entered the Moscow Institute of Geodesy, Aerial Photography, and Cartography. Since then all her life was connected with geodesy. In this article we use Tamara Aleksandrovna’s memories of a communal flat of the 1930s, peripetias of military years, of the North Caucasian and Kazakh aero geodetic enterprises where she worked with her husband Leonid Andreevich Kashin who held a number of executive positions in geodetic service of the USSR in the post-war time.

Databases, GIS and Internet technologies with the purpose of identifying the soldiers who went missing in action in the Great Patriotic War

2017 ◽  
Vol 926 (8) ◽  
pp. 49-58
Author(s):  
O.S. Lazareva ◽  
M.V. Shalaeva ◽  
S.N. Shekotilova ◽  
V.G. Shekotilov
Keyword(s):  
The Internet ◽  
Practical Application ◽  
Internet Technologies ◽  
Modern Information Technology ◽  
Gis Technologies ◽  
Great Patriotic War ◽  
Automated Processing ◽  
Modern Information ◽  
Post War ◽  
Missing In Action

There was a discrepancy found between the practice of identification of the soldiers who went missing in action during the Great Patriotic War and also the reburied ones and the possibilities of automated processing of the war and post-war archive documents using modern information technology. Using the practical application of the mix of technologies of the databases, geographic information systems and the Internet as an example there is a possibility demonstrated to establish the destiny of a soldier who was considered missing in action. As far as the GIS technologies are concerned the methods of forming the atlas of rastre electronic maps and vector maps with the data from the archive sources have been the most significant. The atlas of raster electronic maps of the Great Patriotic War period for the Kalinin Battle Front and the 30th army which was formed in the process of research has been registered in Rospatent in the form of database. The functionality of the research was provided by applying various programming means

Digital Piracy

2021 ◽  
Vol 2 (5) ◽  
Author(s):  
Matthew N. O. Sadiku ◽  
Tolulope J. Ashaolu ◽  
Abayomi Ajayi-Majebi ◽  
Sarhan M. Musa
Keyword(s):  
Publishing Industry ◽  
Film Industry ◽  
Book Publishing ◽  
Economic Loss ◽  
Entertainment Industry ◽  
Music Video ◽  
Digital Piracy ◽  
Movie Industry ◽  
Book Publishing Industry ◽  
Silver Bullet

Digital refers to the practice of downloading and distributing copyrighted contents such as music, video, software, and e-book without permission. It is a fact of life for book publishing industry, entertainment industry, movie industry, television sector, film industry, etc. Piracy is regarded as a crime. Not only does piracy hurts and cause economic loss to these companies, it also inhibits incentive to keep creating. Unfortunately, there is no “silver bullet” solution to the problem of digital piracy. This paper provides an introduction to digital piracy.

scholarly journals OPEN AIR CELEBRATIONS IN LENINGRAD'S SUBURBS IN THE CONTEXT OF DEVELOPMENT OF CULTURAL TOURISM IN THE 1950S (THE CASE OF PALACE AND GARDEN COMPLEX OF PAVLOVSK (LENINGRAD OBLAST, THE USSR))

2021 ◽  
pp. 5-13
Author(s):  
Vasinskaya Mariia ◽  
Keyword(s):  
Personal Growth ◽  
Cultural Resources ◽  
Leningrad Oblast ◽  
German Occupation ◽  
Decorative Art ◽  
Tourism Sector ◽  
Great Patriotic War ◽  
The 1950S ◽  
Post War

Palace and garden complexes located at suburbs of Leningrad (Leningrad Oblast, the USSR) rapidly reconstructed after ruinous German occupation during the Great Patriotic War of 1941–1945 became popular places for open air celebrations among Soviet citizens. The author outlines historic specifics of open air celebrations considered as a form of organization of leisure time, topics and content of cultural programs, analyses an evolution of forms of museum communication with visitors in early post-war time drawing on the example of Pavlovsk of the 1950s. The article gives the author's view on a role of integration historical and cultural resources (including monuments of architecture and decorative art) into the context of solution of personal growth, educational, recreational tasks of Soviet social pedagogics, measures aimed at state support to domestic tourism sector.

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