История Российского кинематографа

The History of RussianCinematography

Выполнила

ученица 8 З класса

МБОУ СОШ №3

НикулинаАнастасия

                              МЕЖОРЬЕ 2016

Content

1. Introduction

2. The history of Russian cinematography

a)The first Russian movie

b) Russian cinematography in the Soviet period

c) Russian cinematography in the Perestroika period

d) Post-Soviet period and modern Russian cinematography

3. Film “The battle of Sevastopol”

4. Sociological interview

5. Conclusion

6. List of literature

Introduction

Hello, mynameisNastya. Today I want to tell you about the History of Russian Cinematography. I like Russian movies, actors and directors. I am interested in the history of cinema development in Russia. My favorite Russian film is «The battle for Sevastopol», my favorite actress is Svetlana Khodchenkova. So I decided to learn how to develop cinema in Russia, who are the ancestors of cinema in Russia.

The history of Russian cinematography.The first Russian movie.

It is known that Russia got acquainted with cinematograph by the French who brought it to the country. In Russia first filming was taken in 1896 by the French cameraman Kamill Serf during the coronation of Nicholas II in Moscow. Soon many Russian photographers mastered the new skills and short documentaries were made by not only foreign but also Russian camera men.However there were 10 year before the appearance of the first fiction films.The history of Russian film production started on October 15, 1908, when the first domestic live-action film, was shown. It was a primitive drama entitled  "Ponizovayavolnitsa or Sten`kaRazin" directed by Vladimir Romashkov.

By 1914-1915 Russian cinema could present more sophisticated films like "War and Peace", "Demons". The best pre-revolution feature film is considered to be "The Queen of Spades" directed by YakovProtazanov. A historical documentary "The Defence of Sevastopol" made by A. Khadzhonkov won international acclaim.

However the official birthday of Russian cinematography became August 27, 1917, when RSFSR`s Council of People's Commissars signed a Decree about nationalization of the film business in Soviet Russia.In 1980, this date was made an official holiday-Day of Soviet Cinema. Later, in 1988, it was renamed Cinema Day.

In the beginning of 1920-ies the new film production companies in Moscow and Petrograd appeared "Mosfilm" and "Lenfilm". From 1922 the sphere of cinema production fell under the total control of the state, with the establishment of Goskino, the official controlling cinema apparatus. From this time till the late 1980s the cinema production was planned, financed, censored and controlled by special state organizations. Cinema was proclaimed a means of propagation, upbringing and education. Agitational powers of cinema were broadly realized in the Soviet period.

Russian cinematography in the Soviet period

The 1920s saw a flowering of film experimentation, notably with the work of Sergei Eisenstein "The Battleship Potemkin". The film got a high appraisal both in Russia and abroad not only because of its depiction of events leading up to the 1905 Revolution, but also because of innovative cinematic techniques.

Eisenstein, introduced the concept of "montage" in film editing, where two or more scenes in sequence provide symbiotic intellectual value for the viewer. Filmmakers openly acknowledge his contribution to world cinema. The methods he used in his films "Strike" and "October" were also later borrowed by other famous film-directors.

VsevolodPudovkin directed a number of talented feature film giving an insight to the psychology of people involved in the revolutionary events: "Mother" after Mikhail Gorky`s novel, "The End of St.-Petersburg" and "The Offspring of Chingiz-khan". These films greatly affected the formation of Socialist realism in Russian cinema and became a milestone in development of world cinema.

Stalin however realized that the modern cinematography could not attract the spectators by only ideological hits. Musical comedy became another leading genre performing the functions of mass culture in those years. The most noteworthy examples include the sparkling "Jolly Fellows", distributed worldwide as Jazz Comedy, starring Leonid Utesov and Lyubov` Orlova, "Circus" and "Volga-Volga", all the three directed by GrigoriiAleksandrov and starring Lyubov` Orlova, as well as "Tractor Drivers" and "Swineherd and Shepherd", both the films directed by Ivan Pur`ev and starring Marina Ladynina. The genre of historic epopee was also developing: "Peter the First" by Vladimir Petrov and "Ivan the Terrible" by Eisenstein. The second part of these film was banned by Stalin.

 World Warthe secondchanged the genres and themes of the cinema after 1941. Full-length war films shot at the height of the World War the second were "Rainbow" directed by Mark Donskoy, "Invasion" by Abram Room, "She Defends Her Country" by Friedrich Ermler, "Zoya" by Leo Arnshtam. They showed heroism and sacrifice of the Soviet people, terror and torture of the Nazis, and true horror of war.

The victory in World Warthe Second gained at the cost of life of millions of the Soviet people caused the next outburst of the Stalin personality cult in the Soviet cinema. The films by "court" film director MikheilChiaureli - "The Fall of Berlin", "The oath" were Soviet propaganda at its most over the top and portrayed Stalin as a real idol and Hitler as a fool.

"Springtime" by Gregory Aleksandrow were released immediately after the war. They were few of first Soviet color films. The Thaw also let Soviet audience enjoy fascinating comedies "I Stroll Through Moscow" by GeorgiyDaneliya, "Watch out for the Cars" by EldarRyazanov, get the pleasure of real entertainment by the comedies director Leonid Gaidai: "The Bootledders", "Business Peple", "Operation Y and Other Shurik`s Adventures", "Kidnapping Caucasian Style" and the most popular Soviet comedy ever made "The Diamond Arm".

Film "The Cranes are Flying" became the real worldwide sensation in 1957 and opened the new era of post-Stalinist Soviet movies. It won the Palme d'Or at the 1958 Cannes Films Festival, becoming the second of two Soviet films to win the award.

A true masterpiece of that period was the film "War and Peace" directed by Sergei Bondarchuk. This Soviet-produced film adaptation of Leo Tolstoy's novel "War and Peace" became one of the most elaborate films ever created and most expensive film producation of that period. It was produced over a seven year period and released in four parts between 1965 and 1967. This film won Academy Award, Golden Globe and National Board of Review Award in 1969 and New York Film critics Circle Awards in 1968.  

The Thaw abruptly finished in 1968 when the Soviet troops invaded Czechoslovakia. The Kremlin censored Soviet cinematography and many remarkable movies were never shown or had limited distribution. Among them were the films "Solaris" and "Stalker", directed by universally acclaimed Soviet genius, Andrei Tarkovsky. Like Eisenstein and Kozintsev, Tarkovsky was not allowed to work freely in Russia. The filmmaker, who made "Solaris", died in exile in France far from his beloved native land. Other famous Tarkovsky`s films are "Andrey Rublev", "Mirror" and "Nostalgia".

This however did not stop films by high class Soviet directors burst through the government censorship. Russia could boast the highest attendance of the cinemas that time. Millions of cinema-goers enjoyed the comedies of Leonid Gaidai: "The Twelve Chairs" and "Ivan Vasilievich: Back to the Future", GeorgiDaneliya - "Mimino", "The Autumn Marathon", EldarRyazanov`s "The Irony of Fate", "Office Romance" etc.

The absolute hits of the late 1970th was melodrama "Moscow doesn't Believe in Tears" directed by Vladimir Menshov and Soviet action "Pirates of the 20th Century" by Boris Durov. The Film was the leader of Soviet distribution in 1980 and had 87,6 million viewers.

Russian cinematography in the Perestroika period

Perestroika period and post-perestroika period saw a loosening of the censorship of earlier eras and allowed more liberalization on the one hand. Finally rehabilitated directed Elem Klimov became top prize winner at the Moscow Film Festival with his film "Come and See". No other Soviet film depicted the horror of the World War 2 so naturally. Previously banned films were shown to the broad audience.

Films like Victor Pichul`s "Little Vera" and Sergei Soloviev`s "Assa",  "Shakhnazarov`s ", "The Courier", "Igla" broke through, exposing Russian life as it was: in the former, Vodka-sodden citizens went for one another`s throats at the slightest provocation; the hypocrisyof the older generation resisted the change demanded by young hipsters.

On theother hand perestoika prompted a torent of second-rate movies and broad import circulation of western films had Russian coming lose even its most devoted goers.

Other films of 1980s include: "The Pokrovsky Gate" a made-for-television comedy starring Oleg Menshikov; "Kin-dza-dza" allegorical science fiction.

Perestroyka, however, made all Russian especially fashionable in the West and Russian film directors were eagerly invited to the international film festivals and won prestigious awards. Most notable works were presented by Leonid Kanevsky "Freeze Die Come to Life", Valery Todorovsky "The Hearse" and "Love", Pavel Lungin "Taxi Blues", Kira Muratova "Asthenic Syndrome" and Nikita Mikhalkov "Urga"

Post-Soviet Period and modern Russian Cinematography

The collapse of the Soviet Union was catastrophic for Russian cinematography. All the time before the cinematography was completely financed by the state. After 1991 the state funding of the cinema ran low, the cinema halls were given for rent and the Soviet audience was hardly offered the few new films produced during the 1990s as the film distributors were mainly focused on the western cinematography.

On the whole the 1990th were characterized by stagnation in Russian cinematography. This was aggravated by the flood of commercial non-professional movies. Oscar winning "Burned by the Sun" by Nikita Mikhalkov was probably the most successful film of the decade. The 2000s delivered a number of original masterpieces of cinema, such as "A Walk" by AlekseiUchitel`,"The Return" by Andrei Zvyagintsev and richly financed mystic blockbuster "Night Watch" by TimurBekmambetov.

Noteworthy is the movie "The Island", which is filmed in the year 2006 and the comedy "What do men", to please movie fans in 2010th year. Spectators motion picture called among the best, "Brother" and "12", "Legend №17" and "Radio Day", "The Barber of Siberia" and "Peter FM». Appreciation moviegoers gave "Turkish Gambit", "Land of the Deaf", the film "The Geographer Drank His Globe Away," "thief," "Dudes," "Bury me for skirting", and the film "How I Ended This Summer".

“The Battle of Sevastopol”

My favorite movie is "The Battle of Sevastopol" filmed in 2015.Film tells about the fate of the legendary female sniper 25th Chapaev Rifle Division of the Red Army, Hero of the Soviet Union, Lieutenant Lyudmila MikhailovnaPavlichenko, destroyed during World Warthe Second, 309 soldiers and officers troops of Nazi Germany.

The World War the second found Lyudmila Kiev State University graduate student at graduation practice in Odessa. After a short sniper courses in the first days of the war, she went as a volunteer to the front, becoming a soldier of the 25th Infantry Chapaev Order of Lenin Red Banner Division of the Red Army, and began her heroic battle path: border battles in the Moldavian SSR - Odessa defense - defense of Sevastopol. Having many personal victories in duels with the Nazi snipers, becoming a living legend, Lyudmila wounded leaves Sevastopol for a few days before his fall.

In 1942, having passed the test of war, Lyudmila became part of the Soviet delegation to the USA, where she became friends with the first lady Eleanor Roosevelt that country. The slogan of the movie "The woman that changed the course of history," recalls the role of the legendary female sniper of the Soviet Union in the opening of the second front in Europe during World Warthe Second. During the tour the cities of America, hosted by Eleanor Roosevelt, in Chicago Lyudmila Pavlichenko said their famous words:

"I am twenty five years old. At the front, I had time to kill three hundred nine invaders. Do not you think, gentlemen, that you are hiding behind my back too long ?! "

The film worked an international team under the supervision of director Sergei Mokritskiy, the studio "New people" and "Kinorob". Film project was presented at the booth representing Ukrainian and Russian cinema at international film festivals in Cannes, Odessa, Berlin and Toronto.

The script was written by Maxim Budarin Sergey Mokritsky, Leonid Korin, the idea of ​​YegorOlesova, based on the book by Lyudmila MikhailovnaPavlichenko "Heroic true story"

The main role was played by Russian actress YuliaPeresild. This film was not the first film about the war for her, but there she first played for military service. One of the partners of the actress shooting area was Yevgeny Tsyganov.

Also starring Nikita Tarasov, English actress Joan Blekhem, who played the role of Eleanor Roosevelt. The work on the film was attended by actors of Ukraine VitalyLinetskiy, Andrew Franchuk and others.

Filming took place in the autumn of 2013 to July of 2014 in Sevastopol, Balaklava, Kiev, Odessa and Kamenetz-Podolsk.

Sociological Interview

In my school, I decided to conduct a survey with a purpose - to find out how well students know the history of Russian cinematography. I asked five different questions:1. Do you know what was the first Russian film?                                                            2. Do you know these actors: PavelPriluchny, TatianaKosmacheva, Svetlana Khodchenkova, Stanislav Bondarenko? 3. What kind of movies do you like more? Russian or foreign?                                   4. How often do you watch Russian films?5. What kind of movies do you like?                                                                                  Results are shown as diagrams.

Conclusion

Thus, in the rapid development of the film industry has proved its worth and has become an integral part of the socio-cultural life. A new kind of art did not leave anybody indifferent. Assessment cinema tried to give many: he scolded and praised.

For the deprived class borders circle of spectators was a new kind of spectacle and entertainment, and precept. In a simple visual form, he made it possible to expand the knowledge in various spheres of life. Movie and was the means of disseminating public information, in particular on current events of political life.

Cinematography was by nature democratic: it gave the opportunity to taste the different ranks of the public and aesthetic pleasures, previously available only high society. In the film sessions the audience acquainted with the classic works of literature, music and theater. In a short time the cinematography is firmly entrenched in the hearts and minds of moviegoers, who witnessed the unique process of climbing a movie from the amazing attraction to the heights of true art. That is all, thank you for your attention.

Рецензия

Данная работа посвящена изучению истории развития кинематографа в России. Тема «История развития кинематографа в России» является весьма актуальной в наши дни, так как 2016 год посвящен году Российского кино.

Данная работа включает несколько разделов: введение, история Российского кино в разные периоды (конец 19 века, советский период, период перестройки, постсоветский период и современный период), история создания фильма «Битва за Севастополь», социологический опрос, заключение, список используемой литературы.

Во введении автор грамотно излагает актуальность изучаемой проблемы, цели, задачи, предмет, объект и гипотезу  исследования.

В первой части работы автор подробно рассказывает об истории Российского кино, об известных актерах, режиссерах.

В течение работы над проектом Анастасия просмотрела огромное количество материалов, книг, фильмов и интервью с известными кинокритиками.

Большим достоинством работы следует считать фактический материал, собранный в результате анкетирования и анализа полученных результатов.

Считаю, что цели и  задачи,  поставленные в данной работе,  достигнуты.

Работа заслуживает положительной оценки.

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