Ways to overcome the screenwriting crisis in Ukrainian cinematography of the second half of the 1920s
Consideration of restructuring the cinematographic industry of Soviet Ukraine after the end of the "civil" war in 1922. Organization of the All-Ukrainian Photo and Cinema Administration. Reasons for the development and approval of film scripts in Moscow.
| Рубрика | Культура и искусство |
| Вид | статья |
| Язык | английский |
| Дата добавления | 11.10.2024 |
| Размер файла | 38,0 K |
Отправить свою хорошую работу в базу знаний просто. Используйте форму, расположенную ниже
Студенты, аспиранты, молодые ученые, использующие базу знаний в своей учебе и работе, будут вам очень благодарны.
It is necessary to attract the best literary forces to script workshops, closely and organically combining their work with production. It is necessary to distribute script workshops at the Kyiv and Odesa factories and at the same time quickly organize a script workshop in Kharkiv. Literary and artistic forces must help this cause, take on a firm order through the selection of the best forces for script workshops, through the production of an appropriate number of scripts by individual members of these organizations” (Kosiachnyi, 1930, p. 11).
But the problems related to the “screenwriting crisis” were obviously better seen “from the outside”: “We want to say a few words about the script business of our cinematography. It must be stated that this case is in a catastrophic state. Despite the thematic plan, the VUFKU lacks scripts with working themes. But even all those films that were released or that were supposed to be released, from the thematic point of view, cannot satisfy the requirements of the modern audience to any extent, not to mention their formal quality. The script workshop of the Kyiv Film Factory and the editorial board organized the script work in such a way that this organization only worsens the case. No systematic work on the processing of raw script material is carried out at the factory. The whole thing consists in non-periodic meetings of the art department, which accepts script material or rejects it. When amendments are proposed, they are so chaotic and often deny that the corrected script does not become better.
Thus, the Robmys Union about the activity of “collective creativity” only repels from the factory those forces that could work in a different setting of this case. Then, of course, you won't persuade people and save the situation with any contests. When a writer writes a novel or a story at his own risk, he is nevertheless sure that his work will not be lost; when he writes a script for the factory, he will necessarily meet a “dry” official approach and indifference and no help or advice, although each script requires the work of the entire artistic staff of the factory” (Vlasenko, 1930, p. 66).
The question of the fruitful interaction of cinema and literature appeared for the first time in the pages of the magazine “Kino” during the discussion “Ukrainian classics on the screen” (1927-1928). In particular, the participants of the discussion emphasized the difference between the literary image, which appears with the help of words, and the film image, which is created mainly with the help of plastic, visual means of expression. There were different points of view on the script and its nature. According to a certain group of contemporaries, the nature of the script is purely cinematic, and therefore the connection of the script with literature was categorically denied. Oleksii Poltoratskyi, Solomon Orelovych and others considered that the script was not a “literary product”. The idea of a “numerical” or “technical” script is born, to some extent, as a reaction to the method of creating a film on the editing table, in which the script was considered only “raw material”, a “semi-finished product” in the hands of an all-powerful director. But in the “technical” script, the protocol-like, unmoved presentation of events, saturated with cinematic terms, destroyed the vivid imagery, reduced both its literary and cinematic qualities.
Conclusions
At that time, the Ukrainian desire for independence from the Bolshevik center in the national and cultural context help ed Ukrainian artistic and literary circles to unite in order to use their creative potential to the fullest extent. This is how the Ukrainian cultural revival of the 1920s became possible, which for completely objective reasons received the infamous name “executed”. From the turn of the 1920s-1930s, feeling the danger posed by the original Ukrainian literature and drama, the Communist Party became more and more persistent in asserting its claims to full control of Soviet culture (including Ukrainian one) and set the goal of creating a new model of culture and arts that would fully serve its ideological postulates. And in order to achieve this goal, leading Ukrainian writers and playwrights, who, as our research shows, could lead Ukrainian film dramaturgy in their own way, in the 1930s, such as Ostap Vyshnia, experienced political repression, or, like Oles Dosvitnyi (1891-1934), Mark Johansen (18951937), Valerian Pidmohylnyi (1901-1937), Valerian Polishchuk (1897-1937), Oleksii Slisarenko (18911937) -- physical destruction.
At the beginning of the 1930s, the controversy surrounding the “screenwriting crisis” in Ukraine stopped. During the 1930s it was then that the management system of the film industry in the USSR was finally transformed. A clear vertical of soviet management with the film center in Moscow is being formed the Soviet capital. Ukrainian cinema finally loses its autonomy and Ukrainian film factories start working with scripts approved by the central authorities, ideologically verified.
Список посилань
Більшовик. (1924, Липень, 5).
Брик, О. М. (1927). По существу сценарного кризиса. Советское кино, 8/9, 11-12.
Брюховецька, Л. (2018). Прерваний політ. Українське кіно часів ВУФКУ: спроба реконструкції. Києво-Могилянська академія.
Бузько, Д. (1927а). Наша кіно-сценарна «криза» та кіно-сценарна «політика». Кіно, 17, 10-11.
Бузько, Д. (19276). Проблеми кіно-сценарної творчості. Життя йреволюція, 12, 232-337.
Бузько, Д. (1929). Шляхи розвитку кіно-сценарної справи на Україні: (Історико-мистецький нарис). Життя й революція, 9, 132-143.
Вісті ВУЦВК. (1925, Лютий, 12).
Власенко, С. (1930). Мертвонароджений Голівуд. Авангард, а, 61-67.
Воробйов, І. (1929). Підсумки всеукраїнської сценарної наради. Кіно, 12, 2.
ВУФКУ в безвиході [Ред. ст.]. (1928). Театр, клуб, кино, 38, 9.
Е. К. (1928). Шляхи сценарію. Театр, клуб, кино, 40, 12.
Едельштейн. (1929). Марне обвинувачення. Кіно, 6, 2.
Ейчис. (1926). Про великі недоліки нашої кінороботи. Увага сценаристу. Театральний тиждень, 3, 7.
Загорський, Б. (1928). За здорову критику. Кіно, 2, 12.
Кіно [Ред. ст.]. (1923). Червоний шлях, 6/7, 216.
Кіно-хроніка [Ред. ст.]. (1924). Комуніст, 150, 5.
Конкурс на кращий сценарій [Ред. ст.]. (1929). Кіно, 20, 14.
Конкурс на сценарий [Ред. ст.]. (1930). Рабис, 13, 8.
Конкурс сценариев [Ред. ст.]. (1922). Фото-кино, 1, 22.
Косячний, П. (1930). Дійсний стан речей. Кіно, 11, 11.
Культурне будівництво в Українській РСР: 1917-1927. (1979). В Збірник документів і матеріалів (сс. 441-446).
Наукова думка.
Литература в кино! [Ред. ст.]. (1925). Кино. Еженедельная газета, 35, 1.
Ліфшиц, Б. (1926). Проблема кіно. Кіно, 9, 1-3.
Лядов, Н. (1929). Київська кінофабрика. Кіно і культура, 5/6, 71-72.
Майорська, Р. (1927). Справи сценарні. Культура і побут, 14, 12.
Медведєв, Т. (1929). Всеукраїнська нарада у сценарній справі. Молодняк, 6, 105-111.
Миславський, В. (2018). Історія українського кіно 1896-1930: факти і документи. (Т 2, с. 473-500). Дім реклами.
Наркомпрос УССР Затонский [Ред. ст.]. (1923). Пролеткино, 1/2, 10-11.
О. Ш. (1927). Перспективи української кінематографії. Культура і побут, 48, 4-5.
Общественная читка киносценариев [Ред. ст.]. (1924). Кино-неделя, 37, 19.
Орелович, С. (1929). В порядку пропозиції. Кіно, 16, 2.
Письменники й українське кіно [Ред. ст.]. (1928). Кіно, 10, 15.
Пиотровский, А. (1928). К партсъезду о кино: Кино и писатели. Жизнь искусства, 3, 6.
Про авторське право на кіносценарії: Постанова Народного Комісаріату Освіти УСРР від 31 грудня 1927 р. (1928). Бюлетень Народного Комісаріату Освіти, 3, арт. 21.
Про авторське право: Постанова ВУЦВК і РНК УСРР від 6 лютого 1929 р. (1929). Збірник законів та розпоряджень робітничо-селянського уряду України, 7, арт. 55.
Про авторський гонорар за прилюдне виконання драматичних, музичних, кінематографічних та інш. творів: Постанова НКО УСРР від 22 квітня 1929 р. (1929). Бюлетень Народного комісаріату освіти, 27, арт. 398.
Про стан роботи ВУФКУ (1928). Бюлетень Всеукраїнського комітету спілки робітників мистецтв, 7, 3-5.
Про стан та перспективи кінопромисловості. (1927). Бюллетень Всеукраинского комитета союза работников искусств, 11, 1-12.
Производственная робота ВУФКУ в Одессе [Ред. ст.]. (1923). Силуэты, 14, 11.
Радиш, В. (1926). Сценарна кризі й шляхи її ліквідації. Культура і побут, 20, 6.
С. Л. (1928). Деякі підсумки кінонаради. Кіно, 3, 1.
Скрипник, М. (1927). Політика Наркомосвіти в галузі мистецтв. Промова на з'їзду робітників мистецтв 2 квітня 1927. Укрробітник, 58-62.
Старський. Листи фабриці (1927). Театр, клуб, кино, 2, 12.
Театральная неделя. (1925, Май, 31).
Хелмно, З. (1924). Виробництво кінофільм. Комуніст, 170, 2.
Хроніка [Ред. ст.]. (1923). Екран, 1, 24.
ЦК КП(б)У та Пленум Всеукраїнського К-ту Спілки Робмис про діяльність ВУФКУ [Ред. ст.]. (1927). Кінофронт, 2, 31.
Шамін. (1927). Про сценарії: (Відгук на листи з фабрики). Театр, клуб, кино, 9, 11.
Шляхи роботи ВУФКУ [Ред. ст.]. (1924). Комуніст, 167, 3.
Шуб, О. (1927). Підсумки й перспективи: (До Всеукраїнської кінонаради). Кіно, 14, 4-5.
Ятко, М. (1928). Манівцями чи конвеєром? Кіно, 6, 2.
Youngblood, D. (1993). Movies for the Masses: Popular Cinema and Soviet Society in the 1920s. Cambridge University Press.
References
Bilshovyk. (1924, July, 5). [In Ukrainian].
Brik, O. M. (1927). On the essence of the script crisis. Sovetskoe kino, 8/9, 11-12. [In Russian].
Briukhovetska, L. (2018). Interrupted flight. Ukrainian cinema of the VUFKU period: an attempt at reconstruction. Kyiv-Mohyla Academy. [In Ukrainian].
Buzko, D. (1927a). Our film-scenario “crisis” and film-scenario “policy”. Kino, 17, 10-11. [In Ukrainian].
Buzko, D. (1927b). Problems of film-scenario creativity. Zhyttiay revoliutsiia, 12, 232-337. [In Ukrainian].
Buzko, D. (1929). Ways of development of film-scenario business in Ukraine: (Historical and artistic essay). Zhyttia y revoliutsiia, 9, 132-143. [In Ukrainian].
Visti VUTsVK. (February 12, 1925). [In Ukrainian].
Vlasenko, S. (1930). Stillborn Hollywood. Avangard, a, 61-67. [In Ukrainian].
Vorobiov, I. (1929). Results of the all-Ukr. script meeting. Kino, 12, 2. [In Ukr.].
VUFKU in despair (1928). Teatr, klub, kino, 38, 9. [In Ukrainian].
E. K. (1928). The ways of the script. Teatr, klub, kino, 40, 12. [In Ukrainian].
Edelshtein, E. (1929). A vain accusation. Kino, 6, 2. [In Ukrainian].
Eichys. (1926). On the great shortcomings of our film work. Attention to the screenwriter. Teatralnyi tyzhden, 3, 7. [In Ukrainian].
Zahorskyi, B. (1928). For healthy criticism. Kino, 2, 12. [In Ukrainian].
Kino [Ed. Art.] (1923). Chervonyi shliakh, 6/7, 216. [In Ukrainian].
Kino-chronicle [Ed. by B. B.] (1924). Komunist, 150, 5. [In Ukrainian].
Contest for the best script [Ed. Art.]. (1929). Kino, 20, 14. [In Ukrainian].
Contest for a script [Ed. Art.]. (1930). Rabys, 13, 8. [In Russian].
Screenplay contest [Ed. Art.]. (1922). Photo-kino, 1, 22. [In Russian].
Kosiachnyi, P (1930). The actual state of affairs. Kino, 11, 11. [In Ukrainian].
Cultural Construction in the Ukrainian SSR: 1917-1927. (1979). In Collection of documents and materials (pp. 441446). Naukova dumka. [In Ukrainian].
Literature in the movie! [Ed. Art.] (1925). Kino. Ezhenedel'najagazeta, 35, 1. [In Russian].
Lifshyts, B. (1926). The problem of cinema. Kino, 9, 1-3. [In Ukrainian].
Liadov, N. (1929). The Kyiv film factory. Kino i kultura, 5/6, 71-72. [In Ukrainian].
Maiorska, R. (1927). Scenario business. Kultura i pobut, 14, 12. [In Ukrainian].
Medvediev, T. (1929). All-Ukrainian meeting in the script business. Molodniak, 6, 105-111. [In Ukrainian].
Myslavskyi, V (2018). History of Ukrainian cinema 1896-1930:facts and documents. (Vol. 2, pp. 473-500). Dim reklamy. [In Ukrainian].
Narkompros USSR Zatonsky [Ed. Art.] (1923). Proletkino, 1/2, 10-11. [In Russian].
O. SH. (1927). Perspectives of Ukrainian cinematography. Kultura ipobut, 48, 4-5. [In Ukrainian].
Public reading of screenplays [Ed. Art.] (1924). Kino-nedelja, 37, 19. [In Russian].
Orelovych, S. (1929). In the order of the proposal. Kino, 16, 2.
Writers and Ukrainian cinema [Ed. Art.] (1928). Kino, 10, 15. [In Ukrainian].
Piotrovskyi, A. (1928). Toward the Party Congress on the cinema: Cinema and writers. Zhizn 'iskusstva, 3, 6. [In Russian].
On the copyright of film scripts: Decree of the People's Commissariat of Education of the Ukrainian SSR dated December 31, 1927 (1928). Biuleten Narodnoho Komisariatu Osvity, 3, art. 21. [In Ukrainian].
On copyright: Decree of the Ukrainian Central Executive Committee and the Council of People's Commissars of the Ukrainian SSR dated February 6, 1929 (1929). Zbirnyk zakoniv ta rozporiadzhen robitnycho-selianskoho uriadu Ukrainy, 7, art. 55. [In Ukrainian].
On royalties for public performances of dramatic, musical, cinematographic, and other works: Resolution of the NKO of the Ukrainian SSR dated April 22, 1929 (1929). Biuleten Narodnoho komisariatu osvity, 27, art. 398. [In Ukrainian].
On the state of work of the VUFKU. (1928). Biuleten Vseukrainskoho komitetu spilky robitnykiv mystetstv, 7, 3-5. [In Ukrainian].
On the state and prospects of the film industry. (1927). Bulletin of the All-Ukrainian Bjulleten ' Vseukrainskogo komiteta sojuza rabotnikov iskusstv, 11, 1-12. [In Ukrainian].
Production work of the VUFKU in Odesa [Ed. Art.] (1923). Silujety, 14, 11. [In Russian].
Radysh, V (1926). Scenario crisis and ways of its liquidation. Kultura ipobut, 20, 6. [In Ukrainian].
S. L. (1928). Some results of the film meeting. Kino, 3, 1. [In Ukrainian].
Skrypnyk, M. (1927). The policy of the People's Commissariat of Education in the field of arts. Speech at the Congress of Art Workers dated April 2, 1927. Ukrrobotnik, 58-62. [In Ukrainian].
Starskyi. Letters to the Factory (1927). Teatr, klub, kino, 2, 12. [In Ukrainian].
Teatral'naja nedelja. (1925, May, 31). [In Russian].
Helmno, Z. (1924). The product. of the motion picture. Komunist, 170, 2. [In Ukr.].
Chronicle [Ed. Art.] (1923). Ekran, 1, 24. [In Ukrainian].
Central Committee of the CP(B)U and the Plenum of the All-Ukrainian Central Committee of the Robmys Union on the Activities of the VUFKU [Ed. Art.]. Kino-front, 2, 31. [In Ukrainian].
Shamin. (1927). About scripts: (Response to letters from the factory). Teatr, klub, kino, 9, 11. [In Ukrainian].
Ways of work of the VUFKU [Ed. Art.]. (1924). Komunist, 167, 3. [In Ukrainian].
Shub, O. (1927). Results and perspectives: (To the All-Ukrainian Cinema Meeting). Kino, 14, 4-5. [In Ukrainian].
Yatko, M. (1928). By the back roads or by the conveyor? Kino, 6, 2. [In Ukr.].
Youngblood, D. (1993). Movies for the Masses: Popular Cinema and Soviet Society in the 1920s. Cambridge University Press. [In English].
Размещено на Allbest.ru
...Подобные документы
Pre-cinema inventions. Descriptions of some visual devices which anticipated the appearance of motion-picture camera. The development of cinematography. The problem of genesis of the language of cinema. The ways of organizing theatrical performances.
реферат [17,5 K], добавлен 02.02.2015The most beautiful and interesting sights of old towns of Ukraine: Kiev (St. Sophia and St. Vladimir Cathedrals, Golden Gates, Museum of Ukrainian Art), Odessa (Pushkin Museum), Lviv (Pharmaceutical Museum, Museum of Ethnography and Crafts, Opera House).
презентация [16,7 M], добавлен 15.02.2014The history of the emergence of Hollywood in the central region of Los Angeles, USA. Education on this territory of the first film studios and film industry. "Walk of Fame" and especially its creation. The use of science for the production of films.
презентация [6,5 M], добавлен 18.12.2014Alexander Murashko - one of the most prominent Ukrainian artists of the late XIX - early XX century. He was the first rector of the Ukrainian Academy of Arts in Kiev. His most famous works of art "Portrait of a girl in a red hat" and "Peasant Family".
биография [13,3 K], добавлен 17.01.2011Film "The Humorous Phases of Funny Faces". Creation of characters. Sculptures Base and Woody with the coordinate grid, ready to numbering. Process of animation. Advantages of some programs. Staff from a cartoon film. The imagination and a good software.
презентация [317,6 K], добавлен 07.03.2012Short-story biography of American film actress Jennifer Aniston: parents, childhood, friends and beginning of career. The personal life of film star and development of its career is in Hollywood. Rewards of artist, as critic and public confession.
презентация [2,1 M], добавлен 26.10.2013James Cameron is famous canadian film director, screenwriter, producer, and researcher of the underwater world. James Cameron's filmography includes five financial records. Interesting Facts of life and work of film director. History of the personal life.
презентация [3,3 M], добавлен 21.10.2014The Hermitage is one of the greatest museums in the world. Put together throughout two centuries and a half, the Hermitage collections of works of art present the development of the world culture and art from the Stone Age to the 20th century.
курсовая работа [16,9 K], добавлен 14.12.2004Seven wonders of Ukraine: National Dendrological park "Sofiivka", Kievo-Pechers’ka Lavra. Ancient Greek town Khersones Tavriisky (Chersonesos) - the city founded by Greek colonists, more than two or a half thousand years ago in south-western Crimea.
презентация [888,1 K], добавлен 12.05.2011John Christopher Depp - an American film actor, director, musician, screenwriter and producer. The three-time nominee for "Oscar", winner of the "Golden Globe". Actor filmography and roles, the most successful commercial projects with his participation.
презентация [4,4 M], добавлен 27.01.2014The tradition of celebrating Christmas in different regions of Ukraine. The requirements for the holiday table on the eve of the Sviat Vechir and describes how to prepare 12 major meatless meals fed to him. Lyrics for of classic Christmas carols.
реферат [11,8 K], добавлен 19.12.2012The "dark" Middle Ages were followed by a time known in art and literature as the Renaissance. The word "renaissance" means "rebirth" in French and was used to denote a phase in the cultural development of Europe between the 14th and 17th centuries.
реферат [13,3 K], добавлен 05.07.2007Tarantino is an emblem of postmodernism late XX c. Childhood and youth actor's, career, worldwide popularity. Key stylistic components of Tarantino movies. Quentin Tarantino's movies as a game in the sense of the word, which is understood by children.
эссе [14,7 K], добавлен 11.02.2014Оказание услуг в сфере аттракции для людей со всеми уровнями достатка. Использование улучшенной технологии 3D. Прайс-лист услуг кинотеатра "Sensation". Основные отличия комплекса. Общие затраты на открытие кинотеатра. Анализ рисков и страхование.
бизнес-план [36,9 K], добавлен 19.09.2017The main types of stereotypes, their functions, leading to illustrate the differences in cultures and national symbols. The use of stereotypes of the main ways in which we simplify our social mir.Funktsiya transfer relatively reliable information.
презентация [1,1 M], добавлен 06.12.2014Выходец из России, с 1922 за рубежом. Ирреальные произведения (часто на фольклорные и библейские темы), отмеченные тонкой красочностью, выразительным живописным рисунком. ("Над городом", 1914-18; витражи, иллюстрации).
реферат [10,2 K], добавлен 10.07.2003Находка гробницы фараона Тутанхамона в 1922 г. как открытие XX в. Иероглифы как основа древнеегипетской письменности. Искусство Древнего Египта. Роль религии в духовной и практической жизни древнеегипетского общества. Место заупокойного культа в религии.
реферат [15,1 K], добавлен 20.04.2011Russian Icons - A Short History. Schools of Icons. Kiev school, Novgorod school, Moscow school, Pskov school. Russian Icons Restoration and Conservation. The icon Restoration Process. Increased complexity in compositions and theological symbolism.
реферат [3,4 M], добавлен 03.11.2014Short-story description of public holidays of Great Britain: Christmas, New Year, Easter, spring and summer Bank holidays. Conservative character of Britannic festive traditions. Tradition and organization of celebration of New Year and Christmas.
реферат [21,1 K], добавлен 05.02.2011Что такое культурная революция. Преобразования в сфере живописи. Описание развития раннего конструктивизма в советской архитектуре. Итоги политики в сфере образования и науки. Классическая, симфоническая и оперная музыка СССР. Итоги культурной революции.
реферат [74,7 K], добавлен 13.11.2010
