This book immerses the reader in the world of Soviet film studios during the Second World War and in the first post-war years. Significant changes began already in 1939, when professional cinema circles of the Soviet Union were urged to respond swiftly to changes in the international situation: to erase the mention of the struggle against fascism from films, while preparing the Soviet audience for conflict, and to respond to the annexation of Western territories by making films and building film structures. From 1941 to 1943, numerous cinema workers organized filming in the evacuation and at the front, working closely with the Red Army, party and state structures of the republics that hosted them on their territory. The restoration of central control, stretching for 1944-1947, took place during the economic crisis. Recreated studios faced not only new material and organizational difficulties, but also unfamiliar recipes for resolving them. Thanks to new sources found in regional, central and personal archives, the authors reveal organizational, aesthetic and socio-professional metamorphoses both in small groups or prestigious film studios, and at the level of the Soviet republics. Archival documents, memoirs and in-depth interviews commented on in the second part of the collection fill the gaps of the existing historiography
Questo libro immerge il lettore nel mondo degli studi cinematografici sovietici durante la seconda guerra mondiale e il primo dopoguerra. Cambiamenti significativi erano già in corso nel 1939, quando i circoli cinematografici professionali dell'Unione Sovietica furono chiamati a rispondere rapidamente al cambiamento della situazione internazionale: cancellare dai loro film i riferimenti alla lotta contro il fascismo, ma allo stesso tempo preparare il pubblico sovietico al conflitto, e rispondere all'annessione dei territori occidentali creando film e costruendo strutture cinematografiche. Tra il 1941 e il 1943, numerosi cineasti organizzarono delle riprese durante l'evacuazione e al fronte, lavorando a stretto contatto con l'Armata Rossa e le strutture di partito e di stato delle repubbliche che li accolsero nei loro territori. Il ripristino del controllo centrale, che durò dal 1944 al 1947, avvenne nelle condizioni di una crisi economica. Gli studi ricostituiti si trovarono di fronte non solo a nuove difficoltà materiali e organizzative, ma anche a ricette sconosciute per risolverle. Grazie a nuove fonti scoperte negli archivi regionali, centrali e personali, gli autori scoprono metamorfosi organizzative, estetiche e socio-professionali sia in piccoli gruppi o in prestigiosi studi cinematografici che a livello delle repubbliche sovietiche. I documenti d'archivio, le memorie e le interviste approfondite commentate nella seconda parte della raccolta riempiono le lacune della storiografia esistente
Vanessa Voisin, Valérie Pozner, Irina Tcherneva (2018). Perežit' vojnu. Kinoindustrija v SSSR, 1939-1949 gg. [Sopravvivi alla guerra. Industria cinematografica in URSS, 1939-1949]. Mosca : ROSSPEN.
Perežit' vojnu. Kinoindustrija v SSSR, 1939-1949 gg. [Sopravvivi alla guerra. Industria cinematografica in URSS, 1939-1949]
Vanessa Voisin
Co-primo
;
2018
Abstract
This book immerses the reader in the world of Soviet film studios during the Second World War and in the first post-war years. Significant changes began already in 1939, when professional cinema circles of the Soviet Union were urged to respond swiftly to changes in the international situation: to erase the mention of the struggle against fascism from films, while preparing the Soviet audience for conflict, and to respond to the annexation of Western territories by making films and building film structures. From 1941 to 1943, numerous cinema workers organized filming in the evacuation and at the front, working closely with the Red Army, party and state structures of the republics that hosted them on their territory. The restoration of central control, stretching for 1944-1947, took place during the economic crisis. Recreated studios faced not only new material and organizational difficulties, but also unfamiliar recipes for resolving them. Thanks to new sources found in regional, central and personal archives, the authors reveal organizational, aesthetic and socio-professional metamorphoses both in small groups or prestigious film studios, and at the level of the Soviet republics. Archival documents, memoirs and in-depth interviews commented on in the second part of the collection fill the gaps of the existing historiographyI documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.