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Home , Abram Room, Dziga Vertov, Lev Kuleshov, Mass media in Russia, Mosfilm

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m a s s c u l t u r e a n d entertainment i n r u s s i a Advisor: Rashit Yangirov, Rashit Advisor: St. Petersburg of Russia, Library National the from Material 2: Part 1: Part Film Periodicals, 1918-1942 Soviet Cinema Journals N ewspapers Soviet Cinema: Film Periodicals, 1918-1942 Part 1: Journals / Part 2: Newspapers product information Material from the National Library of Russia, St. Petersburg Advisor: Rashit Yangirov, Moscow SOVIET Cinema: Film Periodicals, 1918-1942

Part 1: Journals

• Medium: online and on microform • Scope: 27 titles • Number of fiches: 521 • Including Marc21 Records

Part 2: Newspapers

• Medium: online and on microform • Scope: 12 titles • Number of fiches: 66 • Number of reels: 8 • Including Marc21 Records

• Part of the IDC series Mass Culture and Entertainment in Russia • Both parts of the collection are available in IDC’s Digital Library at www.idc-digilib.nl

Film Periodicals from the 1920s and 1930s Subject Areas

Film periodicals from the 1920s and 1930s are a unique source for a variety of - Slavic and Eurasian Studies information on the history of Soviet cinematography, and the material has yet to - Cultural Studies Prewar Soviet Cinema be fully studied and appreciated by scholars. These publications are largely absent - Social Sciences from book collections in the West, and are now presented for the first time as a large, - This new collection includes Soviet film magazines and complete set. - Art History newspapers from the 1920s and 1930s, reflecting the most Film publications shed light on the production side of Soviet cinematography, as well as interesting and fertile period in the history of Russian film. on the theoretical and practical concepts developed by the period’s leading directors Film publications were revived in the early 1920s after being and critics. They also highlight the role of film in Soviet cultural life. Film magazines Related titles interrupted in 1918 by Bolshevik censorship. In the beginning, photo above: Walt Disney and in Hollywood, and newspapers featured articles by leading Soviet directors (, Sergei the film press offered detailed coverage of the industry, both in with his collaborators G. Alexandrov and E. Tisse. Eisenstein, , Aleksandr Dovzhenko, ), as well as members of • Early Russian Cinema. Part 1 and 2 the USSR and abroad, in addition to western photo below: E. Tisse, S.Eisenstein, D.Fairbanks and M. Pickford the avant-garde LEF, leading authors and philologists. • Screen and Stage playing on Soviet screens. Films from the west were a source of mime a card game. In addition to the immense academic value of the publications, several magazines in • Jewish Theater Under Stalinism: great interest and made up a significant part of the Soviet film particular, such as Kino-Fot, were known for their graphic art, including Aleksandr Moscow State Jewish Theater repertoire for many years. Both film and general publications Main Topics Rodchenko’s first creative experiments in graphic design. (GOSETH) of the period presented ongoing discussions of the prudence of Official in-house publications are of particular interest, especially Repertuarnyi Biulletin’ • , 1908-1918. showing western films in the . This discussion was • History of cinematography (1926-1930) and Repertuarnye Sborniki (1932-1942), which offer an inside view of film Part 1 and 2 concluded by the end of the 1920s with the introduction of a • Renowned directors (Lev Kuleshov, Sergei Eisenstein, censorship. Each month these two periodicals printed annotated lists of films that • Chinese Film- and Newsreel Scripts partial and eventually complete ban on imported films, marking Dziga Vertov, Aleksandr Dovzhenko, Abram Room) were prohibited or allowed for screening, as well as instructions and other regulations from the Cultural Revolution the beginning of a campaign to “proletarize” Soviet art. The • Organization of film production in the USSR governing Soviet cinematography. This set also includes a number of newspapers newspaper Kino began exposing class enemies, formalists • Contacts with Film Studios in Europe and Hollywood that covered day-to-day production at the studios and not well known by Russian and and anyone guilty of introducing bourgeois influences into • Film life in the capital and in the provinces foreign scholars: ’s Kadr (1930-1941), ’s Bolshevistskii Fil’m (1932-1941), cinematography. The mass-distributed Sovetskii Ekran was turned • Prewar repertoire (Soviet and foreign films) Mezhrabpom’s Rot-Fil’m (1933-1936) and Kinofront (1935-1936), published by the Kazan into a didactic weekly paper. By the mid-1930s, ideological • Censorship of Soviet films film stock factory. consensus and as the dominant mode in art • Cultural life in the USSR came to the fore in film, as in all other areas of Soviet art. Rashit Yangirov, Moscow