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By Jay Leyda

This heritage of the turbulent future of Kino ("film" in Russian) files the inventive improvement of the Russian and Soviet cinema and lines its progress from 1896 to the loss of life of Sergei Eisenstein in 1948. the hot Postscript surveys the instructions taken through Soviet cinema because the finish of worldwide conflict II. starting with the Lumiere filming of the coronation of Tsar Nicholas II, Jay Leyda hyperlinks Russia's pre-Revolutionary previous with its Communist current in the course of the statement of an incredible cultural phenomenon: the evolution of the Soviet movie as an inventive and political device. The e-book includes one hundred fifty drawings and pictures and 5 appendices, together with a listing of chosen Russian and Soviet motion pictures from 1907 to the present.

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Extra resources for Kino: A History of the Russian and Soviet Film

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Drankov's position seemed really hopeless when Khanzhonkov imported a third Film d'Art, L'Empreinte, with Severin, Max Dearly, and Mistinguett, who was to Europe what Mary Pickford became to America. B. S. Likhachov sums up this period thus in his history14 : 'From this it is clearly seen that the cinema in Russia had reached a transition to a new era. ' Yet they had demanded Russian films, and were ready to respond immediately to any Russian film with an appearance of being dramatic. ' In a vivid circular announcement of the film Drankov excelled himself in description.

But Drankov still felt unsure and shaky in the new field of dramatic production and, deciding to rest on his laurels and consolidate his authority, suddenly announced his temporary retirement from the market while rebuilding and re-equipping his studio. Reluctant to take any retreat without a journalistic effect, he announced that he was too busy organizing the first cinema exposition in Russia (held in the spring of 1909) to produce and rent films. Within the next two months his old rival Khanzhonkov began dramatic production, and a third new firm was started that was to become a dangerous competitor both to Drankov's future ventures and to Khanzhonkov.

Fire! Fall.... Go ahead, fall! " ' "Pushkin" first turns around, and then plumps down on the ground foolishly. The seconds run towards him. " ... " "Pushkin" presses the trigger too soon ~nd shoots somewhere in the general direction of the sky. Then he sits down, ~tares at "D'Anthes" and begins to aim. "Take it in your hand .... Lively.... Aim it at the sleigh.... Where are you turning your head," roars the director. The seconds embrace Pushkin and carry him off. ' 2 Maitre continued to satisfy Pathe and continued to draw upon well-known historical episodes, poems, and novels for his Russian output; Mayoress Marfa (The Fall of Great Novgorod), Princess Tarakhanova, Gogol's Taras Bulba (disguised as The Love of Andrei), Pushkin's Gypsies, Turgenev's Lieutenant Yegurnov, and Kuprin's Duel.

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