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.

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.

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.

scholarly journals The Analysis of Water Availability as an Important Factor for Farmers' Permanence in the Field: A Study in Southern Brazilian Countryside

2019 ◽  
Vol 7 (10) ◽  
pp. 296-306
Author(s):  
José Luis Perlin ◽  
Dieison Prestes da Silveira ◽  
Jana Koefender ◽  
Roberta Cattaneo Horn ◽  
Juliane Nicolodi Camera ◽  
...  
Keyword(s):  
Quality Of Life ◽  
Water Availability ◽  
Rural Areas ◽  
Rio Grande ◽  
Southern Brazil ◽  
Rio Grande Do Sul ◽  
Qualitative And Quantitative ◽  
Fundamental Factor ◽  
Family Farmers

Water availability in rural areas is essential to production activities and quality of life. The aim of the current study is to evaluate the key role played by water resources in rural properties as a factor for farmers' permanence in the field in Southern Brazil. The research followed a qualitative and quantitative approach, which encompassed the application of semi-structured questionnaires to family farmers living in Marmeleiro and Fontana Freda communities, in the rural area of Jaguari County, Rio Grande do Sul State, Brazil. Based on collected data, participants have shown knowledge about aspects such as water quality and availability, as well as about the preservation of this resource. Nevertheless, it was clear that water availability is a fundamental factor for farmers to remain in the field.

Towards a Rural Sustainable Development? Contributions of the EAFRD 2007-2013 in Low Demographic Density Territories. The case of Extremadura (SW Spain)

2017 ◽  
Author(s):  
Gema Cárdenas Alonso ◽  
Ana Nieto Masot
Keyword(s):  
Sustainable Development ◽  
Rural Development ◽  
Rural Areas ◽  
Agricultural Sector ◽  
Principal Component ◽  
Quantitative Methodology ◽  
Sustainable Rural Development ◽  
Qualitative And Quantitative ◽  
Sw Spain

The European Commission has been striving to achieve sustainable development in its rural areas for more than 25 years through funds aimed at modernizing the agricultural and forestry sectors, protecting the environment and improving the quality of life. But is sustainable rural development really being accomplished? This study sets out to answer this question in the case of Extremadura, a Spanish territory with Low Demographic Density and a Gross Domestic Product still below 75 % of the European average. Both qualitative and quantitative methodology have been employed, using a Principal Component Analysis the result of which has provided us with a model which shows how various behaviors coexist in the region in view of the distribution of current funding from the EAFRD. The most dynamic areas have received the largest amounts of funding and these are linked to the agricultural sector and to the protection of the environment, leaving aside the more depressed areas and the implementation of the LEADER Approach as well. Therefore, we have come to the conclusion that the current rural development in Extremadura is not sustainable enough.

scholarly journals Operation mode and effect test of rural revitalization promoted by financial inclusion based on a case study of Yueqing of Zhejiang

2020 ◽  
Author(s):  
Yubo Zhuo ◽  
Xinxin Wang ◽  
Zheng Wu
Keyword(s):  
Rural Areas ◽  
Operation Mode ◽  
Living Environment ◽  
Financial Inclusion ◽  
Subjective Perception ◽  
New Era ◽  
Rural Revitalization ◽  
Effect Test

Financial inclusion is a powerful push to realize the strategy of rural revitalization which is the “compass” of the work of agriculture, rural areas and farmers in the new era. The Strategy of Promoting Rural Revitalization by Financial Inclusion has been practiced in some areas, but there is a lack of the effect of practice and the summary of successful modes in academic researches. In this paper, taking Yueqing, Zhejiang Province, the pioneer of financial inclusion, as an example, the “Yueqing mode” of financial inclusion promoting rural revitalization was discussed based on the grounded theory, and factor analysis and multiple linear regression were further used from the perspective of residents' subjective perception to test the actual effect of “Yueqing mode”. The results show that financial inclusion can actively promote the implementation of rural revitalization strategy, which is mainly reflected in the improvement of the living environment and quality of life.

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.

The Influence Of The Led Luminaires Electrical Parameters On Their Correlated Colour Temperature During Operation Mode

2020 ◽  
pp. 89-96
Author(s):  
Sergei S. Kapitonov ◽  
Alexei S. Vinokurov ◽  
Sergei V. Prytkov ◽  
Sergei Yu. Grigorovich ◽  
Anastasia V. Kapitonova ◽  
...  
Keyword(s):  
Operation Mode ◽  
Light Sources ◽  
Electrical Parameters ◽  
Colour Temperature ◽  
Radiation Spectra ◽  
Service Period ◽  
Close Proximity ◽  
Definition Of ◽  
Comprehensive Study

The article describes the results of comprehensive study aiming at increase of quality of LED luminaires and definition of the nature of changes in their correlated colour temperature (CCT) in the course of operation. Dependences of CCT of LED luminaires with remote and close location of phosphor for 10 thousand hours of operation in different electric modes were obtained; the results of comparison between the initial and final radiation spectra of the luminaires are presented; using mathematical statistics methods, variation of luminaire CCT over the service period claimed by the manufacturer is forecast; the least favourable electric operation modes with the highest CCT variation observed are defined. The obtained results have confirmed availability of the problem of variation of CCT of LED luminaires during their operation. Possible way of its resolution is application of more qualitative and therefore expensive LEDs with close proximity of phosphor or LEDs with remote phosphor. The article may be interesting both for manufacturers and consumers of LED light sources and lighting devices using them.

The Changing Patterns of North Korea’s International Film Co-Productions Since the 1980s: A Global Value Chain Approach

2020 ◽  
pp. 83-108
Author(s):  
Moon Hwy-Chang ◽  
Wenyang Yin
Keyword(s):  
Value Chain ◽  
North Korea ◽  
Film Industry ◽  
International Standards ◽  
The Political ◽  
Global Value Chain ◽  
Comprehensive Understanding ◽  
Changing Patterns ◽  
Film Productions

Although North Korea is one of the most closed countries in the world, it has long been pursuing international cooperation with other countries in order to upgrade the quality of its film industry to international standards. Preceding studies on this topic have mainly focused on the political influences behind filmmaking in general and very few studies have exclusively dealt with North Korea’s international co-productions. In this respect, in order to develop a comprehensive understanding of the internalization strategy of North Korea’s film productions, this paper uses the global value chain as a framework for analysis. This approach helps understand the internationalization pattern of each value chain activity of film co-productions in terms of the film location and the methods for collaborating with foreign partners. By dividing the evolution of North Korea’s international co-productions into three periods since the 1980s, this paper finds that although North Korea has shown mixed results with different aspects of the film value chain, it has generally improved its internationalization over the three periods. This paper further provides strategic directions for North Korea by learning some of the successful Chinese experiences in the film sector regarding collaboration with foreign partners—to foster a win-win situation for all involved parties.

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