Film Factory

Richard Taylor is Reader in Politics and Russian Studies at the University of Wales, Swansea, and Ian Christie is Head of Special Projects at the British Film Institute.

• Part 01 1896–1921: Introduction; Part 01a 1896; Section 1 Maxim Gorky: The Lumière Cinematograph (Extracts); Part 02 1911; Section 2 Leonid Andreyev: First Letter on Theatre (Extracts); Part 03 1913; Section 3 Vladimir Mayakovsky: Theatre, Cinema, Futurism; Section 4 Vladimir Mayakovsky: The Destruction of Theatre’ by Cinema as a Sign of the Resurrection of Theatrical Art; Section 5 Vladimir Mayakovsky: The Relationship Between Contemporary Theatre and Cinema and Art; Section 6 Leonid Andreyev: Second Letter on Theatre (Extract); Part 04 1915; Section 7 Vsevolod Meyerhold: On Cinema; Part 05 1917; Section 8 Lev Kuleshov: The Tasks of the Artist in Cinema; Part 06 1918; Section 9 Lev Kuleshov: The Art of Cinema; Part 07 1919; Section 10 Anatoli Lunacharsky: The Tasks of the State Cinema in the RSFSR; Part 08 1920; Section 11 Vladimir Lenin: Art Belongs to the People. Conversation with Clara Zetkin; Part 09 1922: Introduction; Section 12 Vladimir Lenin: Directive on Cinema Affairs; Section 13 Anatoli Lunacharsky: Conversation with Lenin. I. Of all the Arts …; Section 14 Anatoli Lunacharsky: Conversation with Lenin. II. Newsreel and Fiction Film; Section 15 Grigori Kozintsev, Leonid Trauberg, Sergei Yutkevich and Georgi Kryzhitsky: Eccentrism; Section 16 Alexei Voznesensky: Open Letter to Nemirovich-Danchenko and Stanislavsky; Section 17 Lev Kuleshov: ‘Art’ Cinema; Section 18 Lev Kuleshov: Cinema as the Fixing of Theatrical Action; Section 19 Alexei Gan: The Cinematograph and Cinema; Section 20 Lev Kuleshov: Art, Contemporary Life and Cinema; Section 21 Dziga Vertov: We. A Version of a Manifesto; Section 22 Lev Kuleshov: Americanism; Section 23 Lev Kuleshov: Chamber Cinema; Section 24 Vladimir Mayakovsky: Cinema and Cinema; Section 25 Alexei Gan: The ‘Left Front’ and Cinema; Section 26 Alexei Gan: The Thirteenth Experiment; Part 10 1923: Introduction; Section 27 Alexei Gan: Two Paths; Section 28 Dziga Vertov: The Cine-Pravda; Section 29 Proletkino: Quasi-Theses; Section 30 Sergei Eisenstein: The Montage of Attractions; Section 31 Dziga Vertov: The Cine-Eyes. A Revolution; Section 32 Lev Trotsky: Vodka, the Church and the Cinema; Section 33 Russfilm Script Competition; Section 34 Viktor Shklovsky: Literature and Cinema (Extracts); Part 11 1924: Introduction; Section 35 Declaration of the Association of Revolutionary Cinematography; Section 36 Leonid Trauberg: The Red Clown to the Rescue!; Section 37 Alexei Gan: Recognition for the Cine-Eyes; Section 38 Lev Kuleshov: Mr West; Section 39> 39 Anatoli Lunacharsky: Revolutionary Ideology and Cinema – Theses; Section 40 Resolution of Thirteenth Party Congress on Cinema; Section 41 Dziga Vertov: The Cine-Pravda: A Report to the Cine-Eyes; Section 42 Sovnarkom of the RSFSR: Decree on the Establishment of Sovkino; Section 43 Dziga Vertov: Fiction Film Drama and the Cine-Eye; Section 44 Vladimir Blyum: Against the Theatre of Fools’–For Cinema; Part 12 1925: Introduction; Section 45 Anatoli Goldobin: Our Cinema and Its Audience; Section 46 Zhizn iskusstva Editorial: Theatre or Cinema?; Section 47 Abram Room: Cinema and Theatre; Section 48 Dziga Vertov: Cine-Pravda and Radio-Pravda; Section 49 Viktor Shklovsky: The Semantics of Cinema; Section 50 Grigori Boltyansky: Cinema and the Soviet Public; Part 13 1926: Introduction; Section 51 Adrian Piotrovsky: The Battleship Potemkin; Section 52 Alexei Gvozdev: A New Triumph for Soviet Cinema (The Battleship Potemkin and the Theatrical October’); Section 53 Vladimir Kirshon: Literature, Theatre and Cinema (Extract); Section 54 Béla Balázs: The Future of Film; Section 55 Sergei Eisenstein: Béla Forgets the Scissors; Section 56 Alexander Dubrovsky: The Soviet Cinema in Danger; Section 57 Dziga Vertov: The Factory of Facts; Section 58 Viktor Shklovsky: Where is Dziga Vertov Striding?; Section 59 Esfir Shub: The Manufacture of Facts; Section 60 Viktor Shklovsky: The Cine-Eyes and Intertitles; Section 61 Anatoli Lunacharsky: Cinema–the Greatest of the Arts; Part 14 1927: Introduction; Section 62 Vladimir Mayakovsky: Help!; Section 63 Viktor Shklovsky: Sergei Eisenstein and ‘Non-Played’ Film; Section 64 Viktor Shklovsky: The Temperature of Cinema; Section 65 Viktor Pertsov: Literature and Cinema; Section 66 Viktor Shklovsky: The Film Factory (Extracts); Section 67 Vladimir Mayakovsky: Speech in Debate on The Paths and Policy of Sovkino’; Section 68 Vladimir Mayakovsky: On Cinema; Section 69 Kirill Shutko: Preface to Poetics of Cinema; Section 70 Viktor Shklovsky: Poetry and Prose in Cinema; Section 71 Adrian Piotrovsky: The Cinefication of Theatre – Some General Points; Section 72 Viktor Shklovsky: Mistakes and Inventions; Section 73 Osip Brik: The Fixation of Fact (Extract); Section 74> 74 Esfir Shub: We Do Not Deny the Element of Mastery; Section 75 Adrian Piotrovsky: Let Us Be Maximalists!; Section 76 Adrian Piotrovsky: ‘Ideology’ and ‘Commerce’; Part 15 1928: Introduction; Section 77 Nikolai Yakovlev: The Nihilists from ARK; Section 78 Anatoli Lunacharsky: Speech to Film Workers; Section 79 Vsevolod Pudovkin: S. M. Eisenstein (From Potemkin to October); Section 80 Dziga Vertov: The Eleventh Year; Section 81 Alexei Popov: The Relationships Between Cinema and Theatre; Section 82 To the Party Conference on Cinema From a Group of Film Directors; Section 83 Party Cinema Conference Resolution: The Results of Cinema Construction in the USSR and the Tasks of Soviet Cinema; Section 84 Anatoli Lunacharsky: Review of October; Section 85 Adrian Piotrovsky: October Must Be Re-Edited!; Section 86 Esfir Shub: This Work Cries Out; Section 87 Sergei Eisenstein and Grigori Alexandrov: We Are Waiting!; Section 88 T. Rokotov: Why Is October Difficult?; Section 89 Sergei Eisenstein: For Soviet Cinema; Section 90 The Lef Ring: Comrades! A Clash of Views!; Section 91 Zhizn iskusstva Editorial: October – The Results of the Discussion; Section 92 Sergei Eisenstein, Vsevolod Pudovkin and Grigori Alexandrov: Statement on Sound; Section 93 Vladimir Messman: Sound Film; Section 94 Viktor Shklovsky: The Soviet School of Acting; Section 95 Adrian Piotrovsky: Is There a Crisis in Soviet Cinema?; Section 96 Sovkino Workers’ Conference Resolution: Sovkino’s New Course (Extract); Section 97 Sovetskii ekran Editorial: The Rightist Danger in Cinema; Part 16 1929: Introduction; Section 98 Leonid Trauberg: An Experiment Intelligible to the Millions; Section 99 Viktor Shklovsky: Beware of Music; Section 100 Party Central Committee Decree: On the Strengthening of Cinema Cadres; Section 101 Sergei Eisenstein and Grigori Alexandrov: An Experiment Intelligible to the Millions; Section 102 Yuri Tynyanov: On FEKS; Section 103 Pavel Petrov-Bytov: We Have No Soviet Cinema; Section 104 Adrian Piotrovsky: Petrov-Bytov’s Platform and Soviet Cinema; Section 105 Vsevolod Pudovkin: On the Principle of Sound in Film; Section 106 Adrian Piotrovsky: Westernism in Our Cinema; Section 107 Vsevolod Pudovkin, Leonid Obolensky, Sergei Komarov and Vladimir Fogel: Preface to Kuleshov’s Book The Art of Cinema; Section 108> 108 Esfir Shub: The Advent of Sound in Cinema; Section 109 Vsevolod Meyerhold: The Cinefication of Theatre; Section 110 RAPP Resolution on Cinema; Section 111 Vsevolod Pudovkin: Conversation on Sound Film; Part 17 1930: Introduction; Section 112 ‘An ARK Member’: ARRK Must Be Reorganised; Section 113 Ippolit Sokolov: The Legend of ‘Left’ Cinema; Section 114 Na literaturnom postu Editorial: For the Reconstruction of Soviet Cinema; Section 115 Nikolai Anoshchenko: Sound Cinema in the Service of the Cultural Revolution; Section 116 Viktor Shklovsky: The Script Laboratory; Section 117 Kino i zhizn Editorial: Film Work and the Mass Audience; Section 118 Dziga Vertov: The Radio-Eye’s March; Section 119 Dziga Vertov: Speech to the First All-Union Conference on Sound Cinema; Section 120 Viktor Shklovsky: Sound as a Semantic Sign; Section 121 Ippolit Sokolov: The Second Sound Film Programme; Section 122 Kino i zhizn Editorial: Is There a Soviet Sound Cinema?; Section 123 Viktor Shklovsky: The Film Language of New Babylon; Part 18 1931–4: Introduction; Part 18 1931; Section 124 Proletarskoe kino Editorial: What Does ‘Proletarian Cinema’ Mean?; Part 19 1932; Section 125 Proletarskoe kino Editorial: We Are Continuing the Struggle; Section 126 Vsevolod Pudovkin, Esfir Shub et al.: To All Creative Workers in Soviet Cinema; Section 127 Party Central Committee Decree: The Reorganisation of Literary and Artistic Organisations; Part 20 1933; Section 128 Anatoli Lunacharsky: Synopsis of a Report on the Tasks of Dramaturgy (Extract); Section 129 Vsevolod Pudovkin: The Role of Sound Cinema; Section 130 Sergei Eisenstein: Cinema and the Classics; Part 21 1934; Section 131 First Congress of Soviet Writers (Extracts); Section 132 Pravda Editorial: The Whole Country is Watching Chapayev; Section 133 Film-Makers’ Letter to Stalin; Section 134> 134 Grigori Kozintsev and Leonid Trauberg: The Youth of Maxim (Extracts); Section 135 Vsevolod Pudovkin: The Youth of Maxim; Section 136 Dziga Vertov: More on Mayakovsky (Extract); Part 22 1935: Introduction; Section 137 Joseph Stalin: Congratulations to Soviet Cinema on Its Fifteenth Anniversary; Section 138 For a Great Cinema Art: Speeches to the All-Union Creative Conference of Workers in Soviet Cinema (Extracts); Section 139 Dziga Vertov: My Illness; Section 140 Boris Shumyatsky: A Cinema for the Millions (Extracts); Section 141 Boris Shumyatsky: The Role of the Producer; Section 142 Boris Shumyatsky: Perfecting Our Mastery; Section 143 Dziga Vertov: Diary Entry; Part 24 1937; Section 144 Boris Shumyatsky: The Film Bezhin Meadow; Section 145 Yuli Raizman: Seminar at VGIK (Extracts); Section 146 Vsevolod Pudovkin: The Director and the Scriptwriter (Extracts); Section 147 Vsevolod Pudovkin: Dialogue in Film (Extract); Section 148 Alexander Dovzhenko: The Artist’s Teacher and Friend; Part 25 1938; Section 149 G. Ermolayev: What Is Holding Up the Development of Soviet Cinema?; Section 150 Iskusstvo kino Editorial: The Fascist Cur Eradicated; Section 151 Alexei Stakhanov: My Suggestion to Soviet Cinema; Section 152 Reactions to Stakhanov’s Article (Extracts); Section 153 Vsevolod Pudovkin: The Internal and the External in an Actor’s Training; Part 26 1939; Section 154 Sergei Eisenstein: My Subject Is Patriotism; Abbreviations; Notes to Introduction; notes02> Notes to Documents; Table 1: Cinema Installations and Their Distribution in the Russian Empire and USSR, 1914–41; Table 2: Film Production, 1918–41; Appendices; Appendix 1 Films: Russian and Soviet |> Appendix 2 Films: Foreign |> Appendix 3 People: Russian and Soviet; Appendix 4 People: Foreign; Index;

"This superbly illustrated, readable and authoritative work is a major step in the revision of Soviet film history and will be an indispensable starting point for anyone seeking to understand that history." TLS`... this invaluable book ... informative and well-written comments of the editors ... an essential starting point for viewing and discussion.' - D.J. Wenden, Historical Journal of Film Radio & Television` ... Richard Taylor's and Ian Christie's excellent scholarly work ... very worthy of attention and highly illuminating ...' - Anthony Smith, The Sunday Times` ... a fascinating contribution to the debate ...' - Financial Times