From the history of cinema

The development of Soviet cinema in the 20-3rd years of the 20th century

The decree of the Council of People's Commissars of August 27, 1919 on the transfer of photographic and cinematographic trade and industry to the jurisdiction of the People's Commissariat of Education nationalized film factories, rental offices and cinemas. Cinematography was called upon to play a major role in the political and cultural education of the masses. V. I. Lenin said: "Of all the arts, cinema is the most important for us."

"On September 1, the State School of Cinematography (now VGIK) opened in Moscow at the Photographic and Cinematographic Department of the People's Commissariat of Education. Creators – directors V. R. Gardin and L. V. Kuleshov" (Tikhomirov A.E., The Hard Times of Russia: 1916-1919 Chronicle of events. "Ridero", Yekaterinburg, 2019, p. 143).

In the early years of Soviet cinematography, documentaries and chronicles were shot and shown, reflecting the most important events in the life of the country, recreating episodes of the heroic struggle of the people for Soviet power. The work on the creation of newsreels contributed to the ideological and creative formation of Soviet directors (D. Vertov, L. V. Kuleshov) and cameramen (A. A. Levitsky, A. G. Lemberg, G. V. Giber, E. O. Slavinsky, P. V. Ermolov, E. K. Tisset, etc.). Along with the release of newsreels, attempts were made to embody the modern revolutionary reality in artistic cinematography. So—called propaganda films were created – short films devoted to topical political issues. The scripts for these films were often created by prominent writers (D. Bedny, A.V. Lunacharsky, etc.), and the best directors and cameramen took part in their production. Propaganda films played an important role in the development of Soviet cinema, although they schematically and simplistically solved the themes of modernity. The experience of working on the production of propaganda films contributed to the creation of the full—length motion picture "Hammer and Sickle" (directed by V. R. Gardin, 1921) – one of the first films about revolutionary reality.

A significant place in artistic cinematography during the Civil War was occupied by the adaptation of works of Russian classical literature containing progressive, humanistic ideas that revealed acute social contradictions in the social structure of pre-revolutionary Russia. In 1918-1920, the films "Mother" (based on the novel by M. Gorky, directed by A. E. Razumny), "Father Sergius" (based on the story by L. N. Tolstoy, directed by Ya. A. Protazanov), "Polikushka" (based on the story by L. N. Tolstoy) and "Soroka the Thief" (based on the story by A. I. Herzen, director of films A. A. Sanin), "Lunin and Baburin" (based on the story by I. S. Turgenev, directed by A.V. Ivanovsky).

With the transition to peaceful construction, it became possible to begin the restoration and reconstruction of film production. The technical equipment of film factories, restoration and expansion of the cinema network have begun. In the 20s, cinematography was created in Ukraine, Belarus, Georgia, Armenia, Azerbaijan, and Uzbekistan. The young creative personnel of the republics developed progressive national artistic traditions, widely used the experience of Russian Soviet cinema. Production and rental functions were combined in single business organizations (Sovkino in the RSFSR, VUFKU in Ukraine, Goskinrom in Georgia, etc.), which made it possible to turn rental income to the reconstruction of the production base and financing of new film productions.

Soviet cinema grew and strengthened in the struggle for communist ideology, against the influence of bourgeois ideology. Reflecting the Soviet reality, mastering the realistic traditions of Russian art and classical literature, critically mastering the experience of foreign cinema, film workers improved their skills, developed artistic means of cinematography.

"Strengthening ties with the working masses, the Gubernatorial Committee of the Orenburg region widely used new forms of ideological influence that arose during the revolution and the civil war. Non-partisan conferences, for example, have become widespread. In 1920, they were held in Pokrovsky, Sharlyk, Isaevo-Dedovsky, Petrovsky and a number of other rural areas. Political propaganda among the population of the province was conducted by the Central Executive Committee's propaganda train "October Revolution" (September 1919), "Red Turkestan" (January —April 1920) and the propaganda train of the Gubernatorial Party committee (summer 1920). The latter had a group of agitators, a theater troupe, an orchestra, a cinema and a library. In a short time, the staff of the propaganda train held 22 rallies, 27 performances and concerts on the Orenburg – Buzuluk line, and distributed many political pamphlets and newspapers among the population. The Gubernatorial committee of the party organized a campaign trip of the "Red Car" to Krasnokholmsky district. Agit brigades left Iletsk Protection, Isaevo-Dedovo and Mozharovsky for the villages" (Tikhomirov A.E., Soviet Russia in 1920. "Ridero", Yekaterinburg, 2021, p. 58).

In 1923, the Georgian film studio released the film "The Red Devils" (based on the story by P. A. Blyakhin, directed by I. N. Perestiani). This picture, depicting the events of the civil war, the participation of Komsomol members in the struggle against the Makhnovshchina, was imbued with the spirit of revolutionary romance, bright optimism; it gained wide popularity among young people and laid the foundation for the adventure genre in Soviet cinema. In 1924, the film "The Palace and the Fortress" (directed by A.V. Ivanovsky) was staged, depicting the revolutionary movement in Russia in the 2nd half of the 19th century.