By: Jay Ledya
Chapters XI-XVII
Anniversary Year 1927: Ten years had passed and a group of films were made to glorify the anniversary. It was also the year in which the first group of graduates from multiple major film-training institutions across the union. The major films produced to honor the revolution were October (Eisenstein) and The End of St. Petersburg (Pudovkin).
The Cost of Virtuosity 1928-1930: In March 1928, the first All-Union Part Conference on Film Questions tried to answer the question: "What is wrong with our films?" The complaints were aimed more at foreign films chosen by Sovkino for distribution than at Sovkino's own production. The chapter mentions the many problems, and few strengths, of working with film in a soviet society. The major problems are obviously censorship and availability of materials. A benefit is the availability of resources, if you are in the favor of the leader. Eisenstein essentially shut down the city to film October! That would be less likely to happen in our parts.
Industrial Revolution 1930-1933: In 1928, Eisentstein, Pudovkin, and Alexandrov all signed their names to a warning against the temptations of the "all-talking" film. Their minds were obviously changed when talkies became the norm. Later, Pudovkin said, "...the sound film is a new medium which can be used in entirely new ways. Sounds and human speech should be used by the director not as a literal accompaniment, but to amplify and enrich the visual image on the screen" (280). Because Soviet Russia was a few years behind, they missed the artistic absurdities that came with sound in other places.
Witnessed Years 1934-1937: This chapter is about the time that Ledya spent in Soviet Russia at the Moscow Film Institute. It is remarkably interesting to have such a primary source just plopped right in the middle of the book. I really enjoyed it.
Full Capacity 1938-1939: During this period, the German market disappeared, gifting Soviet filmmakers a few energetic subjects. The production of Alexander Nevsky, and its relation to Eisenstein's other works, is a major portion of this chapter. Thirteenth century Russ was essentially rebuilt for the making of this film. The sets were designed by Eisenstein. The film is called the most superficial and least personal of his works, but it is still clear that it was Eisenstein behind the production.
Semi-War 1939-1941: August 23, 1939--non-aggression pact with Germany signed. All the films attaching the German Government and Hitler's fascism were withdrawn from Soviet distribution. A Day in a New World was released in 1940. It was a normal day and all documentary cameramen were asked to film their surroundings. I'd like to see this.
Test 1941-1947: June 22, 1941--Germany is aggressive and all the shelved anti-fascist films were brought back out. The newsreel was a huge part of this portion of the war. The cameramen went all-out. Some hid with guerrilla fighters in German territory. Their end product was repeatedly honored and awarded. As the enemy approached Moscow, the studios and theaters were moved East. Filmmakers continued making movies from dramatic material in the real past, to connect Russia's history with the war of the day (--> Ivan the Terrible). May 8, 1945--Germany surrenders.
Book Review(s) coming soon!
Chapters XI-XVII
Anniversary Year 1927: Ten years had passed and a group of films were made to glorify the anniversary. It was also the year in which the first group of graduates from multiple major film-training institutions across the union. The major films produced to honor the revolution were October (Eisenstein) and The End of St. Petersburg (Pudovkin).
The Cost of Virtuosity 1928-1930: In March 1928, the first All-Union Part Conference on Film Questions tried to answer the question: "What is wrong with our films?" The complaints were aimed more at foreign films chosen by Sovkino for distribution than at Sovkino's own production. The chapter mentions the many problems, and few strengths, of working with film in a soviet society. The major problems are obviously censorship and availability of materials. A benefit is the availability of resources, if you are in the favor of the leader. Eisenstein essentially shut down the city to film October! That would be less likely to happen in our parts.
Industrial Revolution 1930-1933: In 1928, Eisentstein, Pudovkin, and Alexandrov all signed their names to a warning against the temptations of the "all-talking" film. Their minds were obviously changed when talkies became the norm. Later, Pudovkin said, "...the sound film is a new medium which can be used in entirely new ways. Sounds and human speech should be used by the director not as a literal accompaniment, but to amplify and enrich the visual image on the screen" (280). Because Soviet Russia was a few years behind, they missed the artistic absurdities that came with sound in other places.
Witnessed Years 1934-1937: This chapter is about the time that Ledya spent in Soviet Russia at the Moscow Film Institute. It is remarkably interesting to have such a primary source just plopped right in the middle of the book. I really enjoyed it.
Full Capacity 1938-1939: During this period, the German market disappeared, gifting Soviet filmmakers a few energetic subjects. The production of Alexander Nevsky, and its relation to Eisenstein's other works, is a major portion of this chapter. Thirteenth century Russ was essentially rebuilt for the making of this film. The sets were designed by Eisenstein. The film is called the most superficial and least personal of his works, but it is still clear that it was Eisenstein behind the production.
Semi-War 1939-1941: August 23, 1939--non-aggression pact with Germany signed. All the films attaching the German Government and Hitler's fascism were withdrawn from Soviet distribution. A Day in a New World was released in 1940. It was a normal day and all documentary cameramen were asked to film their surroundings. I'd like to see this.
Test 1941-1947: June 22, 1941--Germany is aggressive and all the shelved anti-fascist films were brought back out. The newsreel was a huge part of this portion of the war. The cameramen went all-out. Some hid with guerrilla fighters in German territory. Their end product was repeatedly honored and awarded. As the enemy approached Moscow, the studios and theaters were moved East. Filmmakers continued making movies from dramatic material in the real past, to connect Russia's history with the war of the day (--> Ivan the Terrible). May 8, 1945--Germany surrenders.
Book Review(s) coming soon!
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