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Russian Russian Russian Russian Theater of the 18th century Russian theater of the 19th century The development of Russian theater in the first half of the 20th century Russian theater of the second half of the 20th century Russian theater of the late 20th early 21st century
The history of cinema The birth of cinema The development of cinema in the first half of the 20th century.
The emergence of sound and color The development of American cinema in the 20th century Trends in the development of world cinema in the post war period Soviet cinema of the second half of the twentieth early twenty first century Modern Russian cinema.
From perestroika to the beginning of the twenty first century, Prospects for the development of world cinema
Actors Clark Gable Mel Gibson Robert De Niro Angelina Jolie Marlene Dietrich Michael Douglas Nicolas Cage Sean Connery Kevin Costner Penelope Cruz Marilyn Monroe Jack Nicholson Al Pacino Gregory Peck Mary Pickford Julia Roberts Sharon Stone Dustin Hoffman Charlie Chaplin
Directors Fellini Gaidai Hitchcock Eisenstein Kusturica Ryazanov Scorsese Mikhalkov Vida Bondarchuk Lelush Pudovkin Govorukhin Spielberg Kurosawa Tarkovsky Antonioni Danelia
Actor's stories Abdulov Ranevskaya Mironov Leonov Martynyuk Tabakov Batalov Gaft
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The development of cinema in the first half of the 20th century.
The appearance of sound and color
It is difficult to find an art form that would develop as rapidly as cinema.
Born at the end of the 19th century, in the next, 20th century, cinema changed almost every year.
Already at the beginning of the century, film production was organized in all the advanced countries of the world, including Russia.
The duration of films is increasing, a special language of the "great silent" is gradually being developed, the task of which is to explain the action of the film to the viewer without words.
Of course, the absence of sound determined the dominance of external forms of expressiveness, a large number of actions.
Special attention was paid to the art of editing, which should convey the dynamism of the action or reveal the idea of the film.
The most active development of the new art form took place in several countries of the world: the USA, France, Germany, Russia.
However, the film industry of the Russian Empire at the initial stage lagged somewhat behind similar processes in the West.
Having started its history with newsreels, Russian pre revolutionary cinema practically did not release original films for about ten years.
Only in 1908, the film "The Don Cossacks" was released on the screens, the success of which proved the public's interest in the domestic theme.
At the same time, from the very beginning of its appearance in the Russian Empire, cinema becomes the object of censorship.
Restrictions are imposed on the subject of future films.
Thus, filming of the royal family (with the exception of a special chronicle), church rites and divine services is prohibited.
It is also prohibited to demonstrate paintings taken "in the French manner", that is, with some elements of frivolity.
Speaking about the initial period of the domestic film industry, it is impossible not to mention the industrialist A. Khonzhonkov and his studio.
Russian Russian literature In 1910, a significant number of short films were released, which are either adaptations of episodes of Russian classical literature, or certain events of Russian history ("The Idiot", "The Fountain of Bakhchisarai", "Peter the Great", "Stenka Razin").
Initially lagging behind in its development, pre revolutionary cinema by the beginning of the tenth years almost manages to catch up with foreign film production.
In 1911, the first Russian full length film was released – "The Defense of Sevastopol".
During this period, bright Russian film directors appeared, for example, V. Gardin or Ya.
Protazanov, whose works ("The Queen of Spades" or "Father Sergius") they are considered almost the most outstanding paintings of the pre revolutionary period.
The further development of cinema in Russia was interrupted by the February and October revolutions.
From 1917 to 1920, the center of the Russian film industry moved to Yalta, where a significant number of films were shot before Wrangel's defeat and the establishment of Soviet power.
Thus, the Soviet cinema inherited a well developed infrastructure.
Already in the early 20s, there is a revolution in cinema: sound appears.
It is curious that the creators of the films were in no hurry to apply this discovery.
After all, the creation of sound pictures required a radical change in the means of expression.
In addition, the production of sound films was quite risky from the commercial side of the enterprise.
Only a certain financial decline made Warner Brothers decide to do this.
But even in this case, many directors and actors did not trust sound and preferred purely visual ways of expression.
The formation of color was also difficult.
Already in the late 30s, the first colored ribbons appeared in the United States thanks to the three color "Technicolor" system, but at that time this pleasure was expensive.
In addition, the quality of color transfer in the cinema remained quite low for a long time and required the director to fully form the image.
Therefore, despite the gradual development of the color possibilities of cinema, back in the sixties, most of the pictures were shot in black and white format.
The exceptions were comedies and films with a decent budget.
However, the spread of color was determined not only by economic reasons.
Many directors of that time, already at a time when color could quite qualitatively convey the shades of the image, preferred to shoot black and white films, considering it more realistic and reflecting the real experiences of the characters.
A typical example of this position is the statement of the Soviet director A. Kozintsev, who explained why the film adaptation of Shakespeare's play "King Lear" is made in black and white: "And I do not know what color tears are!".
Even today, many filmmakers who shoot author's films tend to limit the palette of colors on the screen, and thereby focus the viewer's attention on the emotional component of the film.
The attitude to color in many ways distinguishes the author's cinema from the "mainstream".
However, the history of cinema was largely determined by the political events of the turbulent twentieth century.
Thus, the real development of cinema in Russia takes place after the coup of 1917.
Quite quickly, the new government realizes the possibility of cinema to be a powerful ideological tool.
Therefore, using technical innovations and keeping up with Hollywood in this regard, the Soviet cinema of the 30s can not boast of a serious artistic result.
In the twenties, the famous film by S. Eisenstein "Battleship Potemkin" stands out, in 1952 it was recognized as the best film of all time.
The picture was released for the twentieth anniversary of the 1905 revolution and described the uprising of the sailors of the battleship, the strikes in Odessa.
Probably the most memorable episode of the tape is the shooting of a demonstration on the Potemkin stairs.
In addition, "Battleship Potemkin" is the first picture in the history of Russian cinema, where more than two colors are used.
The director personally painted a red flag on the film, which according to the plot is raised by the rebellious sailors on the ship.
S. Eisenstein remained the main figure of Soviet cinema in the thirties, already at the time of sound cinema.
So, in 1938, his sound picture "Alexander Nevsky"was released.
The Kiev director A. Dovzhenko also achieved great success.
In one of his best films - "Earth" - the entire long suffering history of the Ukrainian land up to the tragic events of the current century was filmed in an original innovative language.
Subsequently, this work was recognized as one of the 12 best films in the history of cinema.
In addition, other directors who gained fame even during the silent film period continue to work, for example, Ya.
Protazanov, who, after coming to sound cinema, shot the famous film "Bespridannitsa" by A. Ostrovsky.
A similar ideological situation has developed in Germany, where the fascists came to power.
At the same time, the German cinema of that time managed to leave its mark in the history of world cinema.
We are talking about Leni Riefenstahl and her films ("Olympia" and others), shot during the Nazi rule and fully corresponding to the fascist ideology, but having an undoubted artistic value.
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History of Cinema
People's interest in moving pictures has always been present.
Such simple entertainments as a hurdy gurdy and a raek have always been successful with the most diverse segments of the public.
But over time, the audience got a more refined spectacle.
From the end of the nineteenth century to the present day, the world has been sick with film schadenfreude, and the dream factory has a serious impact on reality.
For each of us, cinema is a kind of miracle and reality at the same time.
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Directors
Michelangelo Antonioni
One of the most outstanding directors of Italian neorealism was born in 1912.
Antonioni begins his directorial career with the filming of the documentary "People from the Po River"...
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Steven Spielberg
It's probably hard to find a more successful Hollywood director than Steven Spielberg.
The creator of many box office paintings was born in 1946.
Apparently, Spielberg's fate was determined by his father's gift – an eight millimeter camera...
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History of the Theater
Apparently, having just appeared on this strange planet, humanity felt the need for a form of art that can reflect the emotions, feelings, thoughts of each of its representatives.
Therefore, it is very difficult to talk about the appearance of the theater.
It seems that it has always been there, but in different forms.
Something makes people give up all their business, pay money in order to watch other people portraying the passions of their heroes.
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Actor's stories
Alexey Batalov
Batalov always tried to personally perform all the necessary tricks.
So, in the film "Three Fat Men" , his hero, the head of the rebels, Tibul, runs away from the guards and walks along the wire.
Batalov really does this in the frame.
To do this, he had to train and comprehend a complex art for more than a year!
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