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© 2011 Oleksandr Dovzhenko National Centre. Дизайн / Design: Rustem Abliakimov
1 | To order of The State Film Agency of Ukraine The Ivan and Yurii Lypa Charitable Foundation | With the assistance of : . . | . . | . . | , | | | | Photo materials from such funds were used for the catalogue: Odessa National Library named after Maxim Gorky | National Library of Ukraine named after Volodymyr Vernadsky | Central State Film and Photo Archive named after Hryhorii Pshenychnyi | State Museum of Theatrical, Musical and Film Art | Museum of the National Film Studio named after Oleksandr Dovzhenko Oleksandr Dovzhenko National Center | Personal archive of Lubomir Hosejko | Personal archive of Vadim Bayevsky CONTENTS 008 012 INTRO ALOUD ABOUT THE UKRAINIAN SILENTS I I -- 034 048 NON-FICTION MAN WITH A MOVIE CAMERA -- IN SPRING VERTOV AND THE SURREALISTS DJ DERBASTLER IN THE NURSERY 062 070 082 092 094 MAN WITH A MOVIE CAMERA ABOUT DZIGA VERTOV MIKHAIL KAUFMAN DJ DERBASTLER IN THE NURSERY 098 100 IN SPRING ABOUT OLEKSANDR KOKHANOVSKY CONTENTS I -- 104 REVOLUTIONARY EPIC ZVENYHORA -- PEREKOP FUTURETHNO 118 134 166 172 180 188 194 208 214 220 222 ZVENYHORA ABOUT OLEKSANDR DOVZHENKO ABOUT OLEKSANDR DOVZHENKO MAIK YOHANSEN YURII TIUTIUNNYK BORYS ZAVELEV VASYL KRYCHEVSKY SEMEN SVASHENKO MYKOLA NADEMSKY LES' PODOROZHNYI FUTURETHNO 226 230 244 250 254 258 260 262 PEREKOP ABOUT IVAN KAVALERIDZE MYKOLA TOPCHII HRYHORII DOVZHENKO STEPAN SHAHAYDA IVAN TVERDOKHLIB OKSANA PIDLISNA 2SLEEPY I -- - 266 274 PSYCHOLOGICAL DRAMA TWO DAYS � NIGHT COACHMAN UKRAINIAN-STYLE REVOLUTION I DJ U-RA 284 288 294 302 306 312 318 320 324 TWO DAYS ABOUT HEORHII STABOVYI DANYLO DEMUTSKY SOLOMON LAZURIN HEINRICH BEISENHERZ IVAN ZAMYCHKOVSKY SERGEY MININ BORYS LIATOSHYNSKY DJ U-RA 328 334 336 338 344 352 356 358 NIGHT COACHMAN HEORHII TASIN ALBERT KUHN MOISEI ZATS YOSYP SHPINEL AMVROSII BUCHMA YURII SHUMSKY MARIA DOUCEMETIER ARSENI TROFIM 8 ! - , , , . , . . , , . -- ( : , ), . , , , , , , . - KATERYNA KOPYLOVA Head of The State Film Agency of Ukraine DEAR FRIENDS! The proposed collection of films Ukrainian Re-Vision is the most comprehensive attempt to thoroughly present early Ukrainian cinema, which is unfortunately poorly known both in Ukraine and abroad. This is the first project of silent film classics renewal of such large scale performed in Eastern Europe by the state along with non-profit non-governmental organizations. 9 All collected movies were specially restored by Ukrainian experts commissioned by the State Film Agency of Ukraine. The preparation of the first volume of the collection you are holding lasted for over a year. The aim of this collection is not only to return the national cultural heritage (also literally, that is to restore the films missing form Ukrainian film archives), but also to promote them by the instrumentality of contemporary music. Modern Ukrainian, Russian, Polish musicians who work in genres like electronics, jazz, and experimental music created new musical soundtracks for each film, giving second life to semi-forgotten masterpieces. Ukrainian Re-Vision collection is also a tool for promotion of Ukrainian modernist culture, one of the most dynamic European cultures during the first third of the 20th century. A ., , , , , , , , , , . , , '. , , . 90- -- , 1922-1930 , , , , , , . -- , ' , , , , - : , , , 10 , , , 1926 -- . . -- -- , , . , , . ' , ' 30 , 12% . , . ! culture that has given the world the artistic avant-garde represented by Kazimir Malevich, Alexandra Exter, Vadym Meller, Oleksandr Dovzhenko, Vladimir Tatlin, Oleksandr Bogomazov, David and Vladimir Burliuk brothers, and Vasyl Yermilov all of whom have changed the paradigm of world art. Many more names of the Ukrainian modernism founders, whose legacy was purposefully corrupted for over half a century, remained on the margins of national memory. By creating this collection we hope to revive the memories of at least part of them. Publication of the first volume of Ukrainian Re-Vision is timed to the 90th anniversary of All-Ukrainian Photo-Cinema Administration (VUFKU), under the brand of which such masterpieces as Zvenyhora, Two Days, Man with a Movie Camera, In Spring, Arsenal and Earth were created during 1922-1930. VUFKU was a cinematographic state monopoly that united the entire film industry in Ukraine, including film production, film distribution, film education, and book publication. It was one of the most successful film producers in Europe. Exporting movies to France, Czech Republic, Germany, Great Britain, USA, and Japan VUFKU became the second largest after the USA supplier of film production to Germany, which at that time was the leader of the European film industry. VUFKU logo became the logo of the Ukrainian Re-Vision collection. 11 We plan to continue the restoration of silent Ukrainian film classics within the framework of the renewing of forgotten, unknown, and prohibited Ukrainian film heritage. In the next two years the second and the third volumes of Ukrainian Re-Vision collection will be published, including the films that were considered lost. The collection in general will consist of five volumes of silent film classics, which will bring together thirty different genre films, representing around 12% of general number of Ukrainian silent films. I sincerely believe that the publication of Ukrainian Re-Vision collection will be an important step towards a full-fledged Ukrainian national film archive. Enjoy the show! - i i � �, i i I i , � � 12 ! dvd- -- , . . () . , , , ' , . , , , , . , , ' , , , . , -- , . , , - IVAN KOZLENKO Art-director of Mute Nights festival of Silent film & contemporary music Art Projects Curator of Ivan and Yurii Lypa Charitable Foundation Ukrainian Re-Vision collection editor ALOUD ABOUT THE UKRAINIAN SILENTS LADIES AND GENTLEMEN! We are happy to present the first volume of the silent Ukrainian film DVD-collection classics Ukrainian Re-Vision, which is the result of hard work of dozens of cultural institutions and organizations, enthusiasts and professionals. The collection was published due to the joint financing of the State Film Agency of Ukraine and the Ivan and Lypa Charitable Foundation (Odessa) in association with the International Renaissance Foundation. 13 The first volume of the collection titled Ukrainian Avant-Garde includes six classic films of Ukrainian modernism, combined by genres such as revolutionary epic, non-fiction film, and psychological drama. Three of six films from the collection are well known to specialists and cinema lovers, but unfortunately rather abroad than in Ukraine. If such masterpieces presented in this collection as Man with a Movie Camera and In Spring were already subject to computer restoration in the UK and Germany, the first significant work by the world cinema classic Oleksandr Dovzhenko Zvenyhora is restored for the first time. The documentary film part of the collection is presented with masterpieces by Dziga Vertov and Mikhail Kaufman Man with a Movie Camera (1929) and In Spring (1929). "" . . .. (1929) (1929). -- , 1929 . , . , . -- : , , , . -- . -- . (1928), (1930) 14 , . . , , "" , , , . ', , , , , . - , , ' , . , , , (1930), "": "" -- Man with a Movie Camera is the last film created by the duet of talented brothers on Odessa Film Factory (VUFKU) in 1929. Researchers often overlook the fact that the film was made in Odessa as insignificant. But to ignore it means to make the thorough interpretation of the film impossible. Man with a Movie Camera is a very "Odessian" film: it has so much sun, sea, and space in; its emotion is lively and vital. The specific atmosphere of almost Mediterranean city is represented precisely and convincingly, especially in the first shots where the metropolis awakes. But the most important Odessa feature of the film is its almost total apolitical character. The previous Ukrainian Kaufmans' project The Eleventh (1928) and the next one Enthusiasm (1930) created by Vertov himself continued Vertov's main propagandistic line articulated as early as in Kino-Pravda. Man with a Movie Camera falls out of the long rank of talented propaganda movies by Vertov. The film should be considered Ukrainian neither only on the economic basis, due to the fact that it was financed by All-Ukrainian Photo-Cinema Administration, nor due to its highly regarded Ukrainian topics, but primarily because of its �non-Russian� aesthetic code, which saturated Man with a Movie Camera with incomprehensible lyricism, typical for southern attitude. 15 One should also remember that the idea of Man with a Movie Camera, rejected by central Sovkino studio in Moscow, could only be fulfilled in Ukraine, since its leadership represented by Mykola Skrypnyk welcomed and supported disgraced artists from Russia, where an attack on the dissent had started. The same aesthetic and ideological Ukrainian attribution can be applied to the film In Spring, the following independent work by Mikhail Kaufman, who was linked to Ukraine not only with a contract with VUFKU but also with his teen-age years spent in Kiev. The film created on the newly built film factory in Kyiv was, as subsequently Dovzhenko's Earth (1930), accused of "biologism". This euphemism was often used by party "criticism" to mark the dominance of aesthetic meaning over social and political one and should actually be understood in the context of the criticized by the authorities vitaism concept, elaborated by the leader of Ukrainian intelligentsia of that time Mykola Khvyliovyi. Georges Sadoul had every reason to call In Spring a poem, since the plastic language of the film completely absorbed the political statement that Kaufman had in mind. Kaufman's poetic style in In Spring verified his aesthetic assimilation in Ukraine. , . : , . . , , i -- , ' . : (1930) : . , , -- . 16 : (, ) , . -- , , 1920- . , , (1930) , . ( ), , , , . , ' ( ) . , . -- , , , , - 20 ., . The version of In Spring included in the collection was assembled from two parts: a copy of the movie from the funds of the Russian Gosfilmofond and a lost part, a courtesy of the German art restorer and researcher of Kaufman's legacy Rasmus Gerlach. Problems with attribution also occur in respect of Dovzhenko's films. Zvenyhora (1927) is rarely attributed to Ukrainian cultute abroad; the film is mainly considered either Soviet or Russian. However, it is at least unfair to call Soviet a film accused of "Ukrainian bourgeois nationalism" immediately after the first screening and withdrawn from distribution soon. Even greater violence on the historical material of the film would be its attribution to Russian culture. The plot (or rather, plots) of Zvenyhora philosophically interprets over a millennium of Ukrainian history, unrolling in the mythological dimension. Zvenyhora is without any doubts a national film, in which not only Ukrainian cinema, but also the Ukrainian modern elites of the 1920s introspected themselves. Another important testimony of time represented in the collection Ukrainian Re-Vision in the part Revolutionary epic is the film Perekop (1930) by great Ukrainian sculptor and filmmaker Ivan Kavaleridze, who was a friend of Alexandr Archipenko and Oleksandr Dovzhenko. Perekop (aka Song about Perekop), which unfortunately was preserved only partly, provides an indispensable material to study the origins of Ukrainian poetic cinema, of which Kavaleridze is one of the predecessors along with Dovzhenko. The film consisting of nine different stories (according to Kavaleridze, songs) strikes with the scope of historical generalization and monumental images. Kavaleridze's intention to philosophically dissect the epoch unites Perekop with Zvenyhora not only by genre but also by historical and philosophical insight. 17 A brilliant sculptor, director, and playwrighter Kavaleridze was without any doubt a renaissance personality. He was perhaps the only artist of the first half of the 20th century whose artistic universalism can be rightfully put next to Dovzhenko's. Finally, the special appeal of this collection comes from the inclusion of the totally unknown films Two Days (1927) and Night Coachman (1929), filmed in uncharacteristic for the Soviet avant-garde genre of intimate psychological drama. They can significantly change the image of Ukrainian cinema not only abroad, but also in Ukraine where these films remained inaccessible to public for a long time. , -- : (1927) (1929), , - , , . -- , , - , . , (1929) (1930). -- 1920- , . -- , , 18 . . -- , , 1922 1930 . , , . 1925 . , (), , . - , . , , . 1925 , : , Two days by filmmaker Heorhii Stabovyi was the first Ukrainian film commercially distributed in USA. It impressed Western criticism of that time with a perfect expressionistic language, not widely spread in Soviet cinema. This film revealed the artistic genius of Danylo Demutsky, the future co-author of Oleksandr Dovzhenko on Arsenal (1929) and Earth. Two days is a great masterpiece of the 1920s cinema, which should take a worthy rank in the history of cinema. Though Night Coachman by Heorhii Tasin didn't have such success in the West as Two Days, it still achieved the same level of artistic perfection mainly thanks to the superb acting of Amvrosii Buchma. Both films were mercilessly criticized for being overly psychological and shortly forgotten. All six films from the collection were created under the brand of VUFKU (All-Ukrainian Photo-Cinema Administration), a state cinema monopoly, which existed from 1922 till 1930. During the first years of its operation VUFKU focused on the primary organization of film production on the abandoned and nationalized studios in Yalta and Odessa founded by Khanzhonkov, Kharitonov, Grossman and Yermolyev. By 1925 the film production base was completely restored. At the same year VUFKU, following the joint resolution of the Communist Party (Bolsheviks) of Ukraine, the Central Executive Committee of Ukraine and the Council of People's Commissars of the Ukrainian SSR on the total Ukrainization of the party and professional staff of public institutions, invited young Ukrainian writers, artists, and directors to take part in film production. The course on Ukrainization was proclaimed as part of the indigenization course, which represented the official politics of the Bolshevik party on the national issue. Its aim was to engage the representatives of the native peoples from the national republics into the soviet apparatus. By doing this the Bolshevik regime, which de-facto was occupational, sought to achieve loyalty of Ukrainian elites. 19 So, in 1925 VUFKU developed a program that had to improve the artistic level of production. This is how the artistic editorial office of Odessa film studio was headed by a futurist poet and culture leader Mykhail' Semenko, who invited Yurii Yanovsky (who later took his place), Oleksandr Dovzhenko, and Mykola Bazhan to work at the film factory. Earlier Odessa film studio hosted the reformist theater director Les' Kurbas, who brought along with him the talented actors from avant-garde Berezil theater, among whom were Amvrosii Buchma, Semen Svashenko, Stepan Shahaida, and Natalia Uzhvii. Soon a lot of talented people became involved in cinema industry, such as the writer ( ), , . , : , , , . , - ( -) . . , . , , , 20 . . "" , -- : . . , , , " " , . "" 1925 -- -- , , -, . � � 1920- . ' 1920-, Mike Yohansen, the modernist painters Vasyl Krychevsky and Danylo Demutsky, the winner of the Gold Medal at the International Exhibition of Decorative and Industrial Arts in Paris, which actually launched Art Deco. Thus, Ukrainian cinema gathered in its ranks the most prominent Ukrainian avant-garde artists. Even though they are undervalued in the history of Ukrainian cinema, one should emphasize that both Kurbas and Semenko played a crucial role shaping the early Ukrainian film. While Semenko involved writers from Kharkiv and Kyiv into Ukrainian cinema industry, Kurbas, who developed the concept of actor's transformation and created first Ukrainian feature films, supplied the industry with professional actors throughout the first decade of its existence. Due to their enthusiasm the artistic level of Ukrainian cinema reached a European level in just a few years. Not only Kurbas "supplied" the personnel for Ukrainian cinema, but also provided ideas; the most successful Berezil performances were quickly adopted at the Odessa film studio VUFKU. It was Kurbas who first touched upon the Bolshevik uprising against the legitimate authority of the Central Council at the Arsenal factory in Kyiv. This historical episode which splited Oleksandr Dovzhenko and Mykola Nademsky became kind of a �commonplace� in early Ukrainian cinema and the symbolic embodiment of fratricidal civil war. 21 In 1925 apart from involving the best agents of �proletarian� culture VUFKU invited foreign experts (mostly German) to Odessa film studio. Among them were the cameramen Josef Rona and Albert Kuhn, the artists Heinrich Beisenherz and Karl Haaker, as well as Turkish director Erturul-Muhsin Bey, who later directed the first Turkish color film. Thereby, the cinema, already a technological and innovative art by its nature, became in 1920s the mouthpiece of Ukrainian modern urban culture. But the success of Ukrainian film production is associated not only with the cultural revolution of the 1920s, but also with the successful reforms in film industry provided by VUFKU due to the total economic independence from Moscow. During the 1920s the Ukrainian SSR had a certain economic autonomy. The domestic economy of the republic was governed by the Ukrainian Economic Council, while foreign relations were conducted through the system of diplomatic and trade missions, created by Ukrainian Bolsheviks as an opposition to the diplomatic missions in exile of the Ukrainian People's Republic and the Ukrainian State. VUFKU was directly subordinated , . 1920- : , ' , . 1933, 1929 . 1920- . 1926 , , . . ' 22 1930- . - , "", . , , . , , ' 1985 ( . : 5 . � .: , 1985). 1930- , , . , 1957 ( : .: , 1957). , , , 1927 (7, . 8-9), "" . , : , to Ukrainian Economic Council and operated independently from the all-USSR authorities formally until 1933 and de facto until 1929. It is an additional argument in favor of the independent status of Ukrainian cinema of the 1920s in the all-Soviet film system. To implement the Ukrainization program all VUFKU films filmed at Odessa and Yalta film studios were supplemented with Ukrainian intertitles starting from 1926. Among the presented films only the incomplete copy of Perekop kept the original Ukrainian intertitles. In other five films Ukrainian intertitles were cut off and replaced by Russian intertitles in the mid-1930s. That way the last remains of cultural and economic independence of Ukrainian cinema were destroyed, and most of the films were inscribed into the �Soviet� and later into Russian cultural context. Therefore, restoring these films we wanted to recreate as much authentic intertitles as possible. For renovation of intertitles in Zvenyhora we used the director's script published in the five-volume edition of works by Oleksandr Dovzhenko (O. Dovzhenko's Works: In 5 vol., Kyiv: Dnipro, 1985). Even though it was written in the late 1930s, a decade after the film was released in cinema theaters; this text kept the specific author's vocabulary and typical Dovzhenko's style. 23 The director's script, published in the book Scripts of Soviet Ukrainian cinema (Kyiv: State Publishing House of Fine Arts and Music Literature, 1957) allowed us to restore Ukrainian intertitles for Two Days as well. However, intertitles of the first part of the film printed in this book lexically differ from those published in the Word and Photo rubric of Kino magazine (1927, # 7, pp. 8-9), so we had to do a �mix� of two sources. As for the Ukrainian titles to the Night Coachman, they were lost. We had to translate Russian intertitles, saving the existing syntax. The introductory and final credits of Man with a Movie Camera and In Spring were translated in the same manner. Among other things, we would like to stress the spelling peculiarities of the preserved intertitles. Film titles between 1922 and 1928 were made according to the 1921 orthography, while the movies after 1928 were intertitled according to the so-called Kharkiv orthography accepted in 1927 at the meeting of Ukrainian orthography commission and approved on September 6, 1928 by the People's Commissar of Education Mykola Skrypnyk. This spelling has a number of features, abolished in 1933 during the aggressive backlash of the regime towards Ukrainian cultural revival. . . , : 1922-1928 1921 , 1928 -- .. , 1927 6 1928 . , 1933 . , "". , , 1928 , , 1920- 24 , (. -- ), , : . , 1920- . -- , , , -- "" : . -- , "" "" . - , 1920- , " " . 1920-1930- : - . , , ' . For the restored intertitles we used the modern Ukrainian orthography, significantly marked by violent Soviet �normalization�. However, for the catalogue materials, particularly for the direct quotations from the Kino magazine, which used the 1928 orthography, the spelling was partly left unchanged. In particular, the normal for the late 1920s word forms are kept ( instead of , instead of . Please see the reprint of Dovzhenko's article: -- ), but not in the case when iotacized vowels and vovels match: instead of original . Working on the catalogue collection materials, we faced the problem of actual lack of available informational sources on many filmmakers from the 1920s. Biographies of some of them, such as Dovzhenko, Kavaleridze, Stabovyi, and Buchma were �sovietisized� while the artists were still alive. In such falsified form they were inherited by independent Ukrainian cinema studies without significant changes. Dovzhenko's biography suffered from such modification most of all; initially distorted by the Soviet pattern, it was later rewritten in the �patriotic� spirit. Contemporary Ukrainian researchers often ignore the fact that in 1920 Ukrainian artistic elites widely adhered to a symbiotic ideology of national-communism, which organically combined utopian faith in �faraway commune� and national revival. 25 Over time the biographies of the crucial in Ukrainian culture of the 1920s and the 1930s personalities suffered another blow from the official art criticism. Their images were monumentalized and devoid of any attractive vitality. Controversial, but essential for understanding of their work details were cut from the official biographies, while group and friendship connections were broken. In this catalogue we wanted to scratch the Soviet �gilding� off the filmmakers' biographies and create humane portraits of the involuntary hostages of their time. To achieve this, we deliberately avoided the bare style of pseudo biographical materials, in which the corruption of the facts is hidden behind the seeming factological precision. In particular, we refused to use patronymics, which not only were untypical for the Ukrainian language of the 1920s, but also weren't used at the period. For this purpose we principally chose the artists' photos from the period of their establishment and at the moments of filming, not the later files accompanying official "recognition." For example, the suppressed episode from Ivan Kavaleridze's life associated with the work at the Metropolitan Board during the German occupation of Kyiv is presented in "" . , . , -, 1920- , . , , , "". , , ' , , 1930- . , , , : ii , 26 , 1920-: , , , . -- , . , 1920- , , . , , , 19201930- , . 1930 , , . - 1933 , 1930 ... 1920- , , . . , the catalogue from the position of a Ukrainian intellectual of that time, a witness of the mass murders in the USSR during the 1930s. Editing this biographical catalogue, we unintentionally found ourselves compiling the martyrology of early Ukrainian cinema. Almost eighty percent of artists involved in Ukrainian cinema paid a heavy price for taking part in the cultural revival of 1920s. These victims of Stalinist repressions were executed, sentenced to imprisonment in the camps or expatriated. We also didn't manage to find information about some of the actors, so the dates of their birth and death remain unknown and the biographies are limited to filmography. So, the creators of Ukrainian cinema of the 1920s, which was violently destroyed at its prime, should be fairly attributed to the generation of the so-called Executed revival. This term used mainly for the repressed Ukrainian artists in the realms of literature, painting, drama, and music of 1920s and 1930s, was so far rarely used in respect of cinema. In 1930 when the studio Ukrainfilm was created in subordination to the All-Soviet Soyuzkino studio Ukrainian cinema ultimately lost its independence. Even though VUFKU de jure existed until 1933, it was excluded from the process of filmmaking since 1930 and disbanded shortly after... 27 Giving second birth to Ukrainian silent films of the 1920s, we should mention the titans whose shoulders became the foundation for Ukrainian cinematography. Ukraine was predestined by history to become a cinematic state. However, the circumstances of the great and terrible XX century took a different turn... We recall Yosyp Tymchenko who invented, designed and demonstrated modern prototypes of filming and projection apparatuses at the Ninth Congress of Russian inventors in 1893. There are testimonies about his first films Riding Horseman and Spare Thrower, but the films themselves were lost. We also remember the Kharkiv moviemaker Alfred Fedetsky who made the films Trick Riding of the Cossacks of the 1st Orenburg Cossack Regiment and Train Departure from Kharkiv Train Station in 1896, simultaneously with Lumiere brothers, and others. Not only do we want to return the unknown silent Ukrainian cinema to the spectator, but also to draw attention to the unfairly neglected and despised personalities of this ... , 1893 , ' ' : , , , . , 1896 , ' 1- , . , " " , 1922-1925 : , , , , , , . , 28 ( , ), ' , - , , . , (), , . , , , . �heroic age� of Ukrainian cinematography. During the post-war 1922-1925 years their heroic efforts created the Ukrainian film industry: Petro Chardynin, Vladimir Gardin, Heorhii Tasin, Heorhii Stabovyi, Borys Zavelev, Oleksii Kalyuzhnyi and talented cinema manager Petro Neches, the first director of Odessa and Kiev film studios. We sincerely hope that the restoration and updating of the silent Film within contemporary Ukrainian cultural field will modify the stereotypical image of Ukrainian culture (both in and outside Ukraine), will help transform national memory and overcome social amnesia typical for post-colonial culture, which suffered from a loss of several strata of cultural experience, but still doesn't demand their actualization. Silent film is in a sense a metaphor of the trauma in Ukrainian culture; it symbolizes the painful loss of the culture's voice (language) and the inability to speak because of selfabandonment. The age of Ukrainian avant-garde, the emergence of which in the context of rustic, stateless, and censored culture was itself a paradox, requires a thorough and methodical investigation. 29 , : , , , ' , , . , , . , , , , , , , , , DJ Krime. , , -- 30 . , . , . . , , , , - , . ' , , , , , . . . ' . .. SPECIAL THANKS We express our sincere gratitude to all whose concern and enthusiasm led to the creation of this collection: To the authors of the catalogue articles Lubomir Hosejko, Serhiy Trymbach, Larysa Bryukhovetska, Vyacheslav Kasim, Oleksii Radynsky, Stas Menzelevsky; To the translators Joel Rakosh, Volodymyr Artyukh, Olha Papash; to the authors and performers of music for the films: Yurii Mykhalchuk, Ivan Moskalenko, Oleksandr Kochanovsky, Arseniy Trofim, Clive and Nigel Hamberstone, Seva Solntsev and Andrii Prokopenko, Roman Bardun, Filip Szymaniak, Lukasz Owczynnikow, Dominik Jaske and DJ Krime. Special thanks to Oleh Chornyi, Lubomir Hosejko and Yurii Shevchuk for their invaluable advice and counsel, and to the latter two also for the translation of French and English titles for films. 31 To the representatives of partner organizations: Lyana Kryshevska from Bayern Haus Odessa, Olha Batushanska and Tetiana Schurova from Odessa National Library named after Maxim Gorky, Deputy Director of Oleksandr Dovzhenko National Film Studio Andriy Hrushka and the custodian of funds of the Studio Museum Raisa Prokopenko, Petro Yarovenko from the Oleksandr Dovzhenko National Center, Tetiana Melnyk from the Museum of theatrical, musical and film art, Oleksandr Yunin and Halyna Synko from Ivan Kavaleridze Studio Museum, Raquel Peula from the Embassy of Spain in Ukraine. Many thanks to Vyacheslav Kasim, Kateryna Kozlenko, Halyna Dolnyk, Kateryna Maltseva, Rustem Abliakimov, Oleh Pavliuchenkov for invaluable organizational support of the project. The collection is published on the order of the State Film Agency of Ukraine and the Ivan and Yurii Lypa Charitable Foundation in association with the International Renaissance Foundation. Computer restoration of the films is implemented by the Oleksandr Dovzhenko National Film Studio. NON-FICTION FILM -- - , � a (1926), , (1927) (1929) � . , . , � , . i , , a, , . � , , . , , 34 . . , , , i , , , . , . . , , a a i c . , , , , , , , i, , ( ). MAN WITH A MOVIE CAMERA -- IN SPRING LUBOMIR HOSEJKO Of the three European avant-garde documentaries that offer a realistic examination of urban aesthetics -- Alberto Cavalcanti's 1926 Nothing But Time; Walter Ruttmann's Berlin, Symphony of a Metropolis (1927), and Dziga Vertov's 1929 Man With a Movie Camera -- only the latter should be rightly regarded as a purely experimental work. In the film, Vertov illustrates his personal theory of cinema, the cine-eye. He said the film is not merely a working production, but a demonstration of theoretical principles. The opening credits state that the film is a cinematographer's chronicle, and attempt to expand the range of cinematographic visual effects, without the use of intertitles, screenplay, sets, or actors. Man With a Movie Camera is an experimental work with a goal of establishing an absolute, universal language of cinema, completely freed from theatrical and literary modes of expression. In its attempts to appropriate the properties of the human eye, the film is an authentic lesson in cinema, a singular essay on the morphology of cinematography. 35 By the time Man With a Movie Camera was in pre-production, Dziga Vertov had long since passed the stage of film as reporting in his quest for cinematic innovation. He presages television, unwittingly serving as harbinger of the uses of urban closed circuit video surveillance of the future: the monitoring of crowd movements; the application of control over sanctioned as well as unsanctioned social praxis; the maintenance of individual conformance to societal norms. Vertov was able to realize his vision for this concept film in Ukraine only after his dismissal from Moscow film studios. At the invitation of the VUFKU (All-Ukrainian Photo Cinema Administration), he, his wife Elizaveta Svilova, and brother Mikhail Kaufman, worked together for three-and-a-half years in Ukraine. The greater part of Man With a Movie Camera is comprised of random, candid, images which capture the reality of the Ukrainianization of the social and cultural space during the period of the "New Economic Policy" (NEP, roughly 1921-28, ed.). Signs, banners, billboards, newspapers, in Ukrainian are liberally depicted, though not excessively, "propaganda-style" as it were; but rather for the purpose of establishing a record of the cultural melange that obtained and had begun to take root in society, albeit often on a superficial level, as evidenced in the short scenes showing the signing of marriage and divorce certificates. , , , ( ). , � , , . , , , , , . , , , , , , . , , , . , . , . . , , . 36 , , . , , , . , , � , o . a a, , a : , , , , -, - . , , , -. � , , , . , , , ; , , , , , , Despite this acknowledgment of urban motif, the city captured by Mikhail Kaufman's camera, in reality, and in contrast to Cavalcanti's Paris and Rutmann's Berlin, does not exist. It's a bundling, a synthesis of three cities, Kyiv, Odessa, and Kharkiv; their blocks crafted into a symbolic whole. Much in the way another film of the era, the Sixth Part of the World, offered a collective portrait of the country's various ethnic groups and nationalities, Vertov's film does not strictly deal with the life of one city, but with something more symbolic, utopian, if you will, and certainly Soviet, with its urbanized character offered as a representation of the entire country. Vertov's "urban symbol" is further augmented by his depiction of coal mines which, although they appear frequently in this film, are located far from the cities as depicted. Filmed on location in the Donbas region of Ukraine, Vertov would re-use the coal-mine shots in the later installments of his Ukrainian trilogy: the films The Eleventh and Enthusiasm. What's more, Man With a Movie Camera is a brightly lit piece of work. Any darkness in the film may be treated as merely an effect of the hall where the film opens and also finishes. A symbolic darkness. This film is not the devoted urban symphony that is Ruttmann's Berlin. Vertov employs the urban symphony motif in order to surpass it, even destroy it. In fact, the filmmaker is not attempting to shoot the working world so much as reflect a utopia where film itself bears witness to societal transformation. He strives to clarify, to expound upon, and then to share with us his parsing of the world, both old and new, without offering us an exhaustive view of it. 37 Superimposing and crosscutting images -- a cameraman in search of images, the workaday world of a female citizen, a viewer watching the screen, a woman at work at her editing table -- makes breaking the film down into a distinct story line impossible. Despite the heroic actions of the cameraman -- the true heart of the film -- risking life and limb for the sake of a great shot, it's difficult to understand the film's logic from the restricted man-camera binary point of reference we are offered by the lens. To accommodate oneself to that point of reference is to reject the manifestation of the theoretical basis of the film, and to insist that it possesses a storyline, which it, indeed, does not. The awakening of a slumbering street, people off to work, the rush of city transport, its tempo increasing commensurate with that of the busy factory; time-off, a day at the beach, some time for sport, a date with friends over a glass of wine or a game of cards, and lastly at the cinema, where the newsreel Man With a Movie Camera is being shown , ... , , , , . , (, ), , , , . a , , , . , , . , : , . . , , . - 38 , , , . , : , , . , , , . , , : , , . � � : � . . ' , , ', , , , . . , , , ( , , , ). , ' � -. to those who were being filmed that day. The cameraman was required to envision the story's logical, as well as sequential, structure, as it would be viewed both by those appearing on screen as well as those sitting before it. One may argue that the film is an attempt to glorify the cameraman, or, rather, to promote the adoration and exaltation of the camera itself. We note this in particular in the final scenes of the film where the operator, in a stunt, is suspended above a long procession. The contrast of the cameraman's prominence and the diminutive crowd suggests that Vertov is attempting to elevate a new person, one whose view is nothing less than Omniscient. However, this interpretation conflicts with Vertov's stated intention to distance himself from bourgeois cinematic drama so rooted in fiction. As the film opens an empty cinema is being prepared for the arrival of movie-goers, drawing them in: lamps randomly illuminate, folding seats open in sequence. The crowd enters as one. This is all yet prelude to the screening, borne out in repeating frames showing the final steps of film equipment being set up. The concept of the movie-goer attains its full meaning only after the film has ended, when we have returned to the hall in order to observe the reactions of the audience, its attention focused on the screen. Whereas at the start of the film the audience is shown in a wide, frontal shot, near the end they appear in close-up. The camera focuses not only on their eyes, but their smiling gaze. At this point there is a break between those viewers in the film and we who observe them. The extent of that break is the focal principle division of the film, as it drives us into a secondary point of view, establishing that it is impossible to fully identify with those on screen: the face captured in close-up is not our face. This introspective plot structure -- the observer's point of view -- underscores this unimpeachable truth: the creation of a movie is nothing more or less than the creation of the movie-goer. 39 The camera plays the lead in this film: repeated shots of the camera lens itself, sometimes straight on, a human eye at its center, the dance of an animate camera on its tripod, drifting to the center of the screen, greeting its audience, performs the splits and resumes its stance. The film-camera Derbi is used as a metaphor, making us mindful of the existence of another camera unseen by the audience -- that is capturing everything and allowing us to watch. Thus, the true object of the film is the mechanical camera eye -- the cinematic-eye. Just as with a human eye, it is limited to a single point of view, the cinematic-eye creates distance between the camera and the human eye while simultaneously uniting them, , , - , , . ei , , , , , , . , , . ' , oo ', , . : , , , . , , , , : ' . , . , , ' . 40 , , , . , . , , ae . i , , , , . : , a i, ' . i e : a a a, , , . , , . , , ii , , . , i , though not to the point of conflating the two points of view. The technical artificiality of the viewer reveals itself in the famously eroticized scene of the young woman who, upon awaking, rises, dresses, washes and dries her face, finally opening her eyes, only to be temporarily blinded by sunlight pouring through venetian blinds opening by themselves. The next scene shows the camera lens attempting to fix on some blurred object which turns out to be a bouquet of flowers. The scene continues, turning again to the eyes of the young woman, blinking now in rhythm with the opening and closing of the blinds. It draws to a close with a final narrowing of the camera aperture. The editing makes it clear that the blurred image captured by the camera is from the point of view of the young woman: the blurred frames unite them. Vertov blacks out every other frame in the episode that the viewer may be able to observe the flashing light at a normal speed. Vertov held that the human eye is short-sighted, and only the eye of the camera possesses the ability to provide an accurate view since it focuses independently. The camera is able to perfect our view, functioning as a prosthetic supplement for human sight. Thus this intermittency establishes a new correlation that is the very sense and quintessence of cinematic montage. 41 Occasionally, Vertov spoils the storyline, maintaining a narrative line, but distorting its chronology. On Elizabeth Svilova's cutting table we're shown frames which are not yet seen onscreen; scenes that will show up later in the action, like the footage of children at the performance of a Chinese magician. Vertov deliberately shoots out of order. There is no magic, either in front of or behind the camera. It exists only in the reciprocal relationship between viewer and the subjectivity of the camera. The visual tricks of Man With a Movie Camera may be explained away simply as ordinary cinematographic techniques: the slowing or quickening of the shot, long exposures, filming that undergoes changes as a result of various manipulations possible in editing and processing the film. The film is replete with visual alliteration: interspersed large-scale collages, split and intermingled images, alternating segments offsetting inertia and motion, acceleration and deceleration of machinery all spinning at different rates. In order to distort the sense of motion, Vertov cut sections of film in two, dividing the frames into two equal halves, removing either the lower or upper portion of each, and then, starting at opposite ends, arranging fragments that were filmed sequentially, and making them appear to occur , , , , . , , . a , . , , . ', , . i, , , , ' � . , , , . 42 20- , , . , . , . , . , , , e . a , , , . a i . , , . , , . , . , , -. , , simultaneously. We see him successfully divide a crowd moving in opposing directions, split an opera house in two, show tram cars gliding over one another, and Kaufman striding confidently along the roofs of tall buildings. In a final resolution, an ultra-fast chain of repetitive images conveys the appearance of a frame of celluloid slowly transforming itself. The acceleration of human and mechanical motion reaches its apogee in a spinning human eye, turning this way and that. Quick flashes, composed from single shots edited together and shown at double speed simultaneously show Kaufman riding a motorcycle and the screen on which his image is being projected; we see the attentive public and the object of their attention -- the screen showing the operator's image and the eyes of the film's editor. In this accelerated, nearly psychographic, finale, both as it appears on screen and in the filmed reality it captures, are reflected any number of events of the day just past. For nearly forty years the film was largely forgotten due to the repressions suffered by Soviet filmmakers. Further marginalized as the single-most radical experiment of the major wave of Soviet avant-garde of the 1920s, Man With a Movie Camera became the most talked about work in the history of cinema. The film was initially panned for its ambiguity. Audiences misunderstood it; detractors accused the filmmaker of formalism. Sergei Eisenstein ridiculed some scenes, calling it pointless camera clownishness. 43 Although Mikhail Kaufman initially shared his brother's ideas, their views quickly diverged, especially concerning the possibility of using cinematic material which lacked a clearly defined outline. Kaufman regarded Man With a Movie Camera as a failure, siding with disapproving critics of the film, in particular those of Osip Brik, whom Vertov felt had been especially unfair. Vertov accused his brother of betrayal and creative ineptitude. In response, Mikhail Kaufman shot the film In Spring, using a few frames which he had shot earlier while working with his brother. Vertov accused Kaufman of plagiarism, though Kaufman considered these frames his own as the camera used to shoot them had belonged to him. At its core, the argument between the brothers was of a professional nature. Kaufman was convinced that in the creation of the film the cinematographer was every bit as important as the director. Kaufman placed before himself a task to shoot a film without intertitles that could, nonetheless, be more readily understood by the general public. , ie, , . oao, , . a a : oii, , ... , , oi. ', a, , , . , oea � i : , , . , . , . ii, a , , - a 44 , aoo . , i , , a � '. , o , i. -. , o o, , , ' . -, a, . , � , � ', . , , , , , , . , He did not attempt to innovate, being decidedly more lyrical and natural in his approach than Vertov. His film is imbued with delightful images of nature: the magical interplay of light and shadow, the reflections of clouds in rain puddles, the first buds on the trees. One particularly outstanding example of his extraordinary visual ingenuity and its place in grand cinema is the scene of ice melting. Kaufman possesses a more subjective view than Vertov; as a director he was more responsive to what he saw, expressing that responsiveness openly. Mikhail Kaufman devotes his film to the spring, linking it with various life moments, both ordinary and sacred: Easter rituals, sporting events, dances, funerals. The film depicts the approach of spring not merely as a season of the year, but as the blossoming of the young Soviet republics. Man is shown as the master of nature, and his creative energy is contrasted to that of natural destructive forces. Though Kaufman did not attempt to deliver an explicitly propagandized plot in his film, desiring instead that the audience draw its own conclusions, he was nonetheless unable to avoid agitprop altogether to the detriment of the poetic quality of his cinematic hymn. Employing a thoughtful edit, he shows remarkable restraint in delivering the ideological message, contrasting symbols of the new order -- shots of sporting events -- with those of the old -- images of drunkenness. 45 The edit of In Spring has a defined rhythmic structure reminiscent of a musical score, and thus, quite distinct from Vertov's approach. One important technique used here is that of the stop-frame. Kaufman underscores the significance of the technique, showing two young women applauding an athlete on the podium of a stadium and a woman drinking vodka. Kaufman uses stop-frame here, the image culminating in the frozen grimace of disgust on the women's faces. Kaufman was a pioneer at the threshold of special effects which were largely unknown to the public before that time. Under the instruction of Oleksandr Levytsky, one of the most accomplished cameramen of the day, Kaufman worked with a telephoto lens that allowed him to capture significant background detail as well. We witness this in the cemetery scene: a camera, filming, is present. The viewer sees it, but to the people in the shot it is invisible, hidden. The point of such a shot lies in the attempt to record a religious observance, show it afterward to viewers that they might grasp the true nature of the event, its hidden detail, as in a priest accepting money. , , a , , , , , . , , � , . , , , , , i . Ii io , . A , i . , , i a , 46 . , , . , . , i i, , e . a . o � . o : , , , . o - - , i , 1927-1931 , - . e i , , a i o, -, . Kaufman readily includes these animated frames to bring across the idea that church rituals differ in no way from puppet shows or sleight of hand. Even though the intent of a scene like this might be clearly apparent to a contemporary audience, still his renderings of fish or pigs terrified at the prospect of becoming a holiday meal, or an Easter cake that disappears from sight, remain sufficiently humorous, and fall far short of defining the overall inherent aesthetic of the film. Kaufman's camera also often catches the occasional whimsical moment: two lovers on the street, or the faces of children where the lens pauses just a bit, emphasizing his quite personal, affectionate view of little ones. Although Mikhail Kaufman made the film without his brother's participation, it may be argued that each made his own contribution to it, and thus distinguishing their creative methods from one another. Interestingly, if not incidentally, the graphical composition of the movie posters made by the Stenberg brothers for the two films are visually quite similar. 47 The posters for In Spring show spring as a great release propelling the Soviet people toward the stadium, borne on the first rays of spring sunshine. With its clarity of composition, and its predominantly slanting, angular lines, reinforced with a cleverly-employed photomontage, this poster ranks as one of the masterpieces of the Soviet avant-garde. The two Stenberg posters from Man With A Movie Camera accentuate the contrast of mechanical details with those of the human form. In the first example, the camera is placed on a tripod in a manner that invokes images of a machine-gun. In the second, the Stenbergs employ Vertov's method of montage: different female body parts are arranged so that it seems a woman is diving into the audience while simultaneously rotating in space. At the center of this unusual poster, Myron Chepovsky, (an amateur poster-artist who designed posters for the film Berlin, Symphony of the Metropolis as well as dozens of other film ads in the late 1920s), has placed a human eye surrounded by chief iconic elements from the film. These singular, seminal posters, the sole examples known to be in existence, with their mix of Ukrainian and Russian languages, stand as further testament to arguably the most well-aimed experiment in the cinematic-eye oeuvre: film dedicated to the creation of a universal cinematic language. , , '. , . , . , , , - , , . , , , � - � ( ), ( , "" ). , , ' 48 1920-, . ' , . ( / ) : " [ � ..], , . , , , ". , "" : , , (" , !"). , , . , , ( ), . � , . , - VERTOV AND THE SURREALISTS OLEKSII RADYNSKY Despite the fact that Dziga Vertov's Man with a Movie Camera is listed among the most acclaimed films in the history of cinema, it's place within the context of the international artistic avantgarde remains unclear. Placing this film in a context, the majority of commentators limit themselves limit themselves to a comparison with Walter Ruttman's Berlin - Symphony of a Big City, referring to both films as examples of the quasi-genre of `film-symphony'. There are, undoubtedly, more exquisite parallels, such as Baster Keaton's Cameraman: one could think of this film as a parody on Man With a Movie Camera - only if it had not been completed two years before Vertov's film. This comedy about a never-do-well-cameraman who - just like Vertov's protagonist - is trying to film news reels in the city streets, contains unconscious allusions not only to Vertov's early films (backward filming), but also to not-yet-completed Man With a Movie Camera. In one of the episodes Keaton's hero is filming the street traffic in double exposition, which can not but remind us of the final `breaking up' of the Bolshoi theatre in Vertov's film. Nevermind the arbitrariness of such historical parallels, we should closely look at the Western film avant-garde of the period in order to fully understand the significance of Man With a Movie Camera. 49 The German film theoretician Sigfried Krakauer was the first to notice the connection between Vertov's film and one of then-dominant artistic avant-garde movements. In his newspaper review of Man With a Movie Camera he depicts the famous first episode of the film (`awakening of the woman / awakening of the city') in the following vein: "The secret of this strange time [early dawn - O.R.] in which the relationship between life and death is reverted has never been figured so surely before. It is revealed to the Surrealist artist who listens to the conversation that life's disparate, inanimate aspects conduct with the living'. On the first sight, it is absurd to characterize Vertov's art as `surrealist'. Vertov has not only always exposed his radically rationalist, enlightenmental views, but he has also used the notion of unconscious - which is crucial for Surrealism - solely in a negative sense. "We need conscious people, not the unconscious mass, ready for every influence!" - he wrote in one of his manifestos. Nevertheless, Vertov and the Surrealists had much more in common, than a superficial Surrealist sensitivity of the first episode of Man With a Movie Camera - although nor Vertov himself, nor his kinoks (a group of filmmakers that he founded) would never approve of such an analogy. One could juxtapose the Soviet kinoks and the French surrealists merely through the situation, in which both these groups came into being. Both of them represented different kinds of artistic response upon the events of First World War and . , - - . ' , , , " , , 1914-18 , , 1917 ". , , . 1918 , , , . 50 ( ) , , . 1920- , " , , , ". : " () - , � , - � . , - , - ". , -, "" "" ( ), - � "", "", � " " " ", , . . , . , , . the October Revolution. Pierre Naville, one of the key figures in a Surrealist movement, has stated that this movement `presented itself from its beginnings as a consequence, or simply an effect, of the 1914-18 war, and of the political and social revolution which exploded in 1917'. If surrealism was a reaction of left-radical, anti-war French intellectuals toward a new social reality of Europe, the movement of kinoks emerged as a practical reaction towards the destruction of the old regime and establishment of a revolutionary power in the USSR. Since 1918 Dziga Vertov started documenting the new Soviet reality on film, aligning himself with the ideological orientation of early Soviet government. In the early 1920s Vertov proclaims the idea of cine-eye, which he defines as "the worldview of the mechanical eye, which perceives the world more perfectly than the human eye, and sees the world from a new point of view'. Let's compare this with a classical definition of surrealism from Breton's First Manifesto of Surrealism: `Surrealism, n. Pure psychic automatism, by which one proposes to express, either verbally, in writing, or by any other manner, the real functioning of thought. Dictation of thought in the absence of all control exercised by reason, outside of all aesthetic and moral preoccupation'. Common denominators for these definitions are, first, the privileging of `mechanics' or `automatism' over the human abilities, second, postulating some `pure', `new' revolutionary approach - `the point of view' or `functioning of thought', that has to free the human perception from the bodily, psychic or social limitations. 51 In the time of creation of both of these definitions, the biographical backgrounds of their authors were quite similar. Both of them joined the artistic avant-garde after a short career in medical science. During the war Vertov studied in Psychoneurological Institute in Petersburg, where he was influenced by the theories of `physiological optics', which emphasized the critical imperfectness of human eye. This influence was furthered during the Civil War in Soviet Union, when Vertov worked as a cameraman. Breton, accordingly, has worked as a field doctor during the WWI - this experience led him to the interest in hypnosis and, consequently, to psychoanalysis and a search for the artistic methods of studying the unconscious. Both Vertov and Breton considered their activities as rather scientific and political, than artistic, and shared a demonstratively negative attitude towards `art'. In his speech on `Artistic drama and the cine-eye, Vertov proclaimed: `As most of you know, our group [the kinoks O.R] does not connect nor its existence, neither its work with the so-called `art''. Simultaneously, one of the principals of the surrealist movement was an agressive negation of art in all its form - first of all, in the field of literature. The worst accusation towards any of the surrealists was to call him `just a man of letters', a subject of a literary process who is trying to make , . , , , , � . , , , "" � , . : ", . , ' , `'". , " [] `' " � , , , "" : "" "", " ", � . 52 , ( , ) � , . - , " ", ' , ' ( , " "). : (, � ), . " , , ", - . 1920- , , . , , a literary career. Surrealists considered their movement as exterior with regard to art and literature: they were first of all interested in science (of course, freed from the constraints of the rational mind), as well as politics. Robert Short, the historian of Surrealism, concludes that `to avoid the forcible assimilation into a literary avant-garde which they despised, no better means was to hand than affiliation with proletarian politics'. Starting from mid-1920s, Breton and his followers start a long and ill-fated process of integration with the French Communist Party. The flirtation of Surrealists with FCP gained them such an unexpected ally as Anatoly Lunacharsky, Soviet people's comissar for education. He praised the Surrealists as follows: "The Surrealists have rightly understood that the task of all revolutionary intellectuals under a capitalist regime is to denounce bourgeois values. Their efforts deserve to be encouraged". The basic difference between the communist propaganda and surrealist art was that the former was addressed to the subjects of revolution, while the latter - to its potential victims. In practice, the political engagement of surrealists resulted in the search of inner `traitors', expulsions and break-ups. Analogous atmosphere has dominated the group of kinoks during the whole history of its existence. This group has also positioned itself as a political rather that artistic organization, which has for instance led to the thorough reglamentation of membership in a group. `The membership in the organization is open to anyone who is actively fighting for the elimination of bourgeois and artistic cinema according to the program of Cine-eye'. Of course, Vertov could not boast such an amount of conflicts and expulsions within the group - first of all, due to the small number of kinoks as compared to the Surrealists. However, the degree of Vertov's sectarian paranoia was comparable to that of Breton. For instance, after Osip Brik's review of Vertov's film Eleventh, where the author hypothesized that the film's cameraman Mikhail Kaufman (who happened to be Vertov's brother) was not fully aware of the director's intention, Vertov sent Kaufman a furious letter demanding the renunciation of this thoughts under the threat of expulsion from the group. This happened shortly before the shooting of Man With a Movie Camera, where Kaufman also played the film's protagonist. 53 One more element of the avantgardist worldview that was common for Breton and Vertov was their radical antihumanism. They bosed considered a human being as unworthy of their attention, whose imperfectness should be overcome by means of its reconstitution - be it psychical (in case of Breton) or physical (in case of Vertov). "We, the kinoks, temporarily exclude the human being as an object of filming because of its inability to control its movements" - wrote Vertov in his first manifesto We. Surrealism, in spite of all its atten- , , . , , , : " , � . ". , , ' , � . , ( � ) " " . , "", . � , � 54 . , , � , , : " , -". , "", � , . , . : " ". , , , , " -", : " ( ) , <...>, , <...>, , - ". , . , . . tion towards the unconscious, was a deeply anti-psychological movement. The surrealists regarded psychoanalysis as a way to get rid of the limitations and norms imposed by the civilization, and as an alternative for a bourgeois psychology. Anti-humanist ressentiment among the Surrealists had taken up extreme forms: Breton once said that an ideal surrealist act is shooting into a crowd. Finally, an important common denominator between kinoks and surrealists was their internationalism. `The movement of cine-eye that we, the kinoks, are heading, is a movement of international order, and it is synchronous with the development of world revolution' - Vertov proclaimed. Nevertheless, not a single organisation affilliated with the kinoks was created abroad - not regarding another Vertov's brother Boris Kaufman, who worked as a cameraman on Jean Vigo's A propos de Nice - an unprecedented synthesis of Vertovian cinema-verite with a surrealist form). Surrealists had also constantly tried to create an international network of their organization, but they did not develop further than a few sporadic factions. If there was any direct mutual infiltration between kinoks and the surrealists in the 1920s, Vertov's group was undoubtedly more influential in this respect. The influence of Surrealists upon Soviet film in the 1920s was merely thematic: one of the most outstanding episodes of Dovzhenko's Zvenyhora depicts the Parisian boheme that blood-hungrily observes the staged `suicide' of the Ukrainian self-proclaimed prince (Dovzhenko, of course, did not have a clue how accurately did he represent the moods of a certain segment of French intellectuals). In contrast, Vertov's work was well known and influential in France: in 1925, his movie Kino-Glaz (Cine-Eye) received a prize at the Exposition des Arts Decoratifs in Paris, and Vertov himself delivered lectures all over Europe, including France. Vertov's significance was acknowledged not only by Soviet, but also European critics. 55 Here are some excerpts from the publication in the 1920s press collected by Yuri Tsivian in his book Lines of Resistance: Dziga Vertov and the 1920s: "Vertov's influence in the West in indisputable. It is palpable in the so-called `avant-garde' films of France, in the work of Cavalcanti, Ruttman, England'; "Kino-Glaz (Cine-Eye) is a point of departure for all German and French avant-garde film projects, without which experiments by Rene Clair as well as Man Ray are unthinkable". Of course, it is hard to differ the influence of Vertov from the tremendous influence that Soviet film as a whole had upon European audiences at the time. The best description of this influence is probably Luis Bunuel memoir about the screening of Battleship Potemkin - a film fiercely accused by Vertov for `limited' implementation of the principles of Cine-eye - after whose end the viewers had started to construct the barricades just outside the film theater. Luis Bunuel, who co-authored the crucial surrealist film Un Chien , , . , () () . ", , ' ", - . ' � . , , : ' , , . : , ; ( , , : , � ). 56 , , , , , ( ) . " <...> ...", - , ( , 1920- , , � - ). � , , "" ( ) ( ). . 1920-, : , "" - (, , , Andalou, is crucial for the understanding of connections between left-wing avant-garde movements in France and USSR. In spite of the fact that Un Chien Andalou may seem a complete antipode of Man with a Movie Camera, the views of Bunuel and Dali, the films authors, were strikingly similar to those of Vertov. The co-authors of Un Chien Andalou managed to incorporate into a surrealist activity an important element of avant-gardist worldview, that divided surrealist from other synchronous movements. This element is machinism, or praising of modernist technological achievements as opposed to the imperfect human body and psychics. Early surrealism had an ambigous attitude towards the machines. On the one hand, the surrealists praised the premodern, irrational cultures and practices and despised the mechanized production of commodities. On the other, the surrealists were trying to reduce the artistic activity to the level of psychic automatism, and turn themselves into the apparatuses of fixation of unconscious symptoms. There's no wonder that photography soon became a privileged medium of surrealism - it helped to free the act of creation from the limits of consciousness much easier, than literature or painting. For instance, Dali has regarded Un Chien Andalou as a documentary, a simple notation of the observed facts, which represented `the real functioning of thought' of the film's authors'. In fact, Bunuel and Dali during the creation of Un Chien Andalou had proclaimed the postulated, quiet similar to Vertovian ideas of film truth and cine-eye - although the subject of their `film-truth' was not the external revolutionary reality, but the inner psychic life of the revolutionaries themselves. 57 Un Chien Andalou and Man with a Movie Camera have another unexpected point of reference. Both films are metacommentaries upon the processes of film production and film perception. While Vertov's film comments upon these issues quite explicitly, Bunuel and Dali did this implicitly and, quite possibly, unconsciously. The famous first shot of Un Chien Andalou - the cutting of a woman's eye with a razor - is to be perceived as a metonymical representation of the process of film viewing. In her analysis of this shot Linda Williams calls the eye's cutting `the symbol of the act of film creation'. Williams compares the function of a man with a razor with a function of a film director, which lies in `a double procedure of vision and cutting'. It is not a coincidence, Williams insists, that the role of this man was performed by Luis Bunuel himself. Bunuel's `man with a razor' seems to be a peculiar analogue of Vertov's `man with a movie camera'. Its noteworthy that start of both analyzed films is marked by an image of a terrible physical trauma: instead of an eye being cut, in Man with a Movie Camera its a cameraman's leg cut by a train - a scene that is an apogeum of a `surrealist' episode depicted by Krakauer. In both cases this trauma refers to the processes of film shooting and film viewing - the processes that embody the traumatic experience of the subject of Western modernism. ). , 1920- : 1925 - , , . , 1920- . : 1920- ': " . "" , "; "- � , ". , , , , . : , `' � , "" - � . 58 , , ' . , ( " " , � ), ( ) . , (" , , ", - ). , . , . : , , ( � "" ), . , , � . , " ", . , , , . , 1920- , . , : " , , <...> ' . ". , , " " . , , � , , . 59 . , , . , � , , . � � . " ". , , , (vision and cutting). , , . " " " " . , : , "" , . � , ' . I M A N W I T H A M O V I E C A M D Z I G E A V R E R T O A V / ABOUT , �� - , '. DZIGA VERTOV, DIRECTOR ALTERNATIVE MANIFESTO WE WE distinguish ourselves as kinoki instead of "cinematographers". Junkmen who are doing okay peddling our junk. ' . WE see no connection between deceitful, calculating hucksters and true filmmakers. WE think psychological Russo-German - , , . American adventure films with their , , 62 - . , , . , . . . WE declare the old films, romances, theatricals, and such: lepers, one and all! , , � , - ! - ! - ! . WE confirm film's future by denying its present. . �� . Cinematography must die for the sake of film as art. WE urge the expediting of its destruction. -- Stay away! -- Avert your eyes! -- Life-threatening! -- Contagious! showiness, contrived American detectives, should thank us cine-eyes for their quick cuts and wide angle shots. It's all fine, but disordered, and not born of a careful study of motion. It's a step up from the psychological thriller, but still so baseless. A facsimile. A copy of a copy. cinema, weighed down by childhood phantoms and memories, is just nonsense. . WE protest the mixing of art-forms, so often called "synthesis". , . , , , . Synthesis can be admitted only after each - , . form, of itself, achieves its zenith and not before. Mixing bad colors, even those ideally selected out of the spectrum, will not result in whiteness, but in dirt. , , , , , . WE would cleanse the cine-eye of every impurity that currently adheres -- from music, literature, theater -- that it may seek and find its own place in the pure rhythm of life. 63 : - , , , , - - WE appeal to the following: -- out with -- sweet, romantic embraces, the poison of the psychological novel, the groping theatrical lovers, we turn our backs on music! And in with the pristine fields of , (3 + ), , . four-dimensional space, that is three plus time, in search of material, pace, and rhythm. �� , , . "The psychological" hinders precision. We are "second hands" striving to be at one with the machine, but blocked. We lack all incentive in the current state . of the arts to turn our attention to modern man. , , , . We should be ashamed in front of the machines for our inability to regulate ourselves, but what can you do when the ironclad laws of electricity fascinate us to a greater extent than the chaotic pace of active fecklessness of a passive citizenry. . WE derive greater joy from cascades of sawdust at the mill than from the dance of humanity. ' . WE temporarily turn away from a man as an object for our filmmaking because of his inability to coordinate himself. - 64 . Our path is to follow the fidgety man, who through the poetry of the machine, culminates , , , , Unlocking the soul of the machines, falling in love with the worker at his , , . We embrace the joy of creation in all mechanical toil, We join man to machine, , , , ' . , , , , A n e w m a n , freed from his torpor and discomfiture, with precision and smooth mechanical movement, stands as the grateful object of film. WE, with our gaze fixed on the understanding of mechanical rhythms and the we raise up a new man. station, the villager on his tractor, the engineer in his locomotive... in the perfected, electrical man. ' , , . rapture of mechanical labor, the perception of the beauty of chemical processes, we laud the earthquakes, and offer our cinematic poems to the flame and the electrical plant, delighting in the motion , . of the comets and the meteors and the vibrations of movie projectors whose light outshines the stars. . Anyone who loves his art seeks the truth of its technology. , , , , , ( + � ), , . Its meter, tempo, type of motion, and its exactitude relative to the frame of the shot, even the frame of the world -- three , - , . dimensions plus a fourth less time -- should be studied by everyone working in cinema. 65 Frazzled nerves need the rigor of cinematographic precision. - . Determination, accuracy and speed: these are three requirements for movement in worthy filming and projecting. ... . This geometric extract of motion of exciting altering images are essential to cutting. Cine-eye is the art of organization of necessary motions ... - . of objects in space, consistent with the material proper- , , ties and innate rhythm of each object. , , , , , - , , , ; , , , , , . ...WE are in search of cinegram. WE rise and we fall together with the rhythm of motion, slowing, accelerating, now running away from us, now near us, now upon us, in a circle, a straight line, an ellipse, now right now left, , , , , , , . marked by "plus" and "minus". Motion that is curving, straightening, separating, destroying, multiplying itself by itself, noiselessly projecting through space. Cinema is also the art of the artifice of the . . 66 . . motion of objects in space, which reflect the demands of science, the realization of the dream of an inventor, scientist, artist, engineer, or carpenter, creating cinematic . art otherwise unachievable in life. , . Drawings in motion. Sketches in motion. Projects coming to pass. The theory of relativity on screen. , , , . , , , , '. WE welcome the natural reverie of motion. Our eyes leap to the future on the wings of a hypothesis, driven by propellers. WE trust that the moment is near when we will be able to expel into space the , , , , . motion of hurricanes, held in check by the arcana of our approaches. Long live dynamic geometry, the pursuit of the points, lines, planes, and volumes. -- , . , , . . . -- - , : � , �. , , , . . - . : � , , - , �. : �, - �! , , , , , ... In Kharkiv they asked me: "How do you, a passionate advocate of captions, suddenly make Man With a Movie Camera � a film without words, without captions?" I answered: "No, I'm no advocate of sentimental captions or any other type of captions. This is a fabrication of my critics!" The film Man With A Movie Camera is linear, inventive, and sharply contrasts the poster slogan: "the more predictable, the better". This prevented those of us working on the film, despite our fatigue, from even thinking about a break. It should compel the distributors to give up their slogan for this film. Man With a Movie Camera demands the most creative screening possible. -- Shooting Man With A Movie Camera required greater effort than earlier cineeye work. It can be seen in the greater number of locations that were under observation, and the complexities of organization and technical operation during the shooting. Cutting the film was exceptionally stressful. Modifications in the editing were going on constantly. 67 Long live the poetry driving a moving car, the poetry of levers, wheels, and wings of steel, the iron cry of motion, the blinding grimaces of hot current. , , . Certainly, with the elimination of costuming, actors, props, literary screenplays our cine-eye group has joined the battle for the definitive cleansing of the cinematic language, for its full separation from the , . ��. . , � , 68 . . , , , . language of theater and literature... In this way, the complete lack of captions in the film Man With A Movie Camera is in no way unintentional, but the deliberate result of all past experiments in the cine-eye. The film Man With a Movie Camera is not merely a practical exercise, but also theoretical. Certainly, it's the reason behind the heated disputes about the film that took place in Kharkiv and Kyiv by proponents of various schools of so-called "art", taking place on a number of levels. Some said that the film was exploring visual music, � , , , , . � . , , , i , , , - , , , : . visual concert. Others saw the film from the point of view of a mathematical montage. Still others insisted that it is not life as it truly is, but the hidden life and more. The film, however, is just a summation of facts fixed on celluloid, or, if you want, not simply a summation but a true opus: "a higher math" of facts. Each section or each multiplier is its own tiny document. These documents are joined to each other by an idea in order that, from one side, only the parts remain whose meaning , , , , - - - , -, , () , , . coincides with the explicit visual sense; from another side, there is not really any call to need to explain the separate parts with words. Finally, the parts must be perceived as an unbroken, organic whole. This complex experiment, which most colleagues have noted recently, is a success. Initially, it rescues us from the paternalism of theatrical literature and sets us face to face with 100% cinematography. Secondly, it contrasts sharply "life as it is" from the point of view of an eye equipped with , - , , . , - , . ' , , . ... , , ' , , , . a camera, the cine-eye, and "life as it is" from the point of view of the less-thanideal human eye. 69 SIEGFRIED KRACAUER, GERMAN FILM-CRITIC If Vertov's Man With a Movie Camera is not merely a solitary and radnom phenomenon, then it signals a breakthrough for humanism in Russian thought, otherwise obsessed with politics. It could be that Vertov merely desired to fix contemporary Russian society on film; in that case, what he accomplished was something other than what he was after. His film timidly, almost sheepishly, addresses eternal questions of the meaning of our existence, both collectively and individually applied. The fact that Russian film is able to overcome the narrow-minded thrust imposed by Party dogma, addressing these universalities openly, bears witness to the idea that this is a society with yet more to offer. ( ) 21 1895 -- 12 1954 , . ( -- ) ' . . . , , . . . : 70 , . ' ( ). 1916 - -- , , 1920- . Dziga Vertov, photo by Aleksander Rodchenko, 1920s , - � �. , . ' 1917 -- . , , . DZIGA VERTOV (DAVID KAUFMAN) DIRECTOR 21 DECEMBER 1895 -- 12 FEBRUARY 1954 Dziga Vertov is among the most prominent Russian and Ukrainian avantgarde filmmakers, and he was a pioneer of documentary film-making. He was born into an intellectual Jewish family in the town of Belostok (Bialystok), in the Grodno Governorate of the Russian Empire (on the territory of present-day Poland), where his father ran a bookstore chain. David studied in the local Gymnasium and also attended music school. As a young man, he wrote poetry and music, and also painted. The Kaufmans moved to Kyiv at the beginning of the First World War, and David was enlisted in the Army. He served briefly in an infantry division, from where, after writing the lyrics for his divisional anthem, he was sent to Chuguyiv Military Music School. He was honorably discharged due to poor respiratory health. In 1916, he entered St. Petersburg Psycho-Neurological Institute -- one of the few educational establishments in the capital to admit Jewish students from the "designated zone". Following the February Revolution, David Kaufman moved to Moscow and entered the Law Department of Moscow University where he studied for a few months. 71 His film career got its start in the summer of 1917 when his friend Mikhail Koltsov invited him to work at the office of Moscow Film Committee. David began as a clerk, but quickly became familiar with the fundamentals of filming techniques; by the following autumn he was creating his first cinematic focusing on the October coup. It is possible that this rather large commission was given to David thanks to the patronage of his wife Olga Toom, a pianist friendly with Nadezhda Krupskaya, Lenin's wife. . , 1920- . Piotr Galadzhev. Dziga Vertov's Cartoon, 1920s At this time Kaufman began working under the pseudonym Dziga Vertov, though he had been signing his poetry in that fashion since at least 1915. During the Russian Civil War, Dziga Vertov worked as a film instructor and organizer in the newsreel administration of the All-Russian Photography , -- 1918. , -- , . . -- , , 1915 . ( ) - . � �, , . 72 ( ), . . . , , 1920- . Dziga Vertov, 1920s . , . - , , . . 1919 i � �, , : ? - 1922 . , . , and Motion Picture Department (the new designation of the Moscow Film Committee). His position at the time could be compared to the position of a "line producer", though Vertov was involved in much more than just technical oversight. New issues of newsreels had to be prepared weekly (the project was called Filmweek), usually covering the war. At that time, the newsreel had not yet become a separate genre. The human role was considered as insignificant and merely mechanical. Documentary cinematographers possessed no official designation at the time. They were referred to simply as "operators". Vertov's colleagues recalled that a newsreel was evaluated based on the depth and the amount of detail in events filmed. This resulted in most documentary filming taking place in one or two locations, without close ups, few medium shots, mostly employing long-range shots. The work did not encourage creativity. For that reason, when Kaufman attempted to title a 1919 documentary as "a film by director Dziga Vertov" the administration demanded he remove the title, citing that it was not a feature film and thus could have no director. 73 With his work in 1922, Dziga Vertov lent substance to his claims of being a "documentary film director". At that time, he established the cine-eye movement, penning his manifesto We. Cine-Eye. The movement distinguished itself from "filmmaking" by offering to substitute "the visible dramatization of life" with real life filmed by the generic mechanical eye. , 1910- . Brothers Mikhail and David Kaufman, late 1910s Vertov atempted to embody this artistic ideology in his newsreel series for the (re-named) Kino-Pravda (FilmTruth). Later he would make true documentaries like Stride, Soviet! and The Sixth Part of the World. He had become a true pioneer of documentary film. Vertov's brother, Mikhail Kaufman, who collaborated in all of Dziga's projects in the 1920s, later explained that "He (Dziga) was the first to understand that the shot doesn't ��, � � , . , . ' : , !, . . , , : � [] , ' , , . 74 , . , . , , , - (1934) Dziga Vertov filming Three Songs about Lenin (1934) ...�. , , . . , � �. , ' . 1927 , -- , . appear by itself out of the chaos of filmed material, but only in combination with other shots. These combinations trigger associations and give birth to an idea. They exert a stronger influence that typical newsreel shots. At the time we were attracted by unconstrained usage of space and time, analytically chosen shots and their synthesis, collision of shots, meanings." The aggressive rhetoric of Vertov's theorizing encountered expected strong opposition. Among his opponents were counted Victor Shklovsky and Sergei Eisenstein. In response, Vertov called the "a pointless, fake feature film trying hard to look like a newsreel". At that time, these creative discussions had not led to threats toward anyone's life or livelihood, but career troubles were already beginning to surface for Vertov. In 1927, he was fired from Sovkino (Soviet Film). The formal reason on time. Unmet deadlines were, however, not an unusual phenomenon in the Soviet film industry of the time; this could not have been the real reason for Vertov's firing. Vertov moved to Ukraine on a request from the Odessa Film Studio. Here, he created Man With a Movie Camera in 1929. He formed a homogenous image of an absolute city -- perfect, mechanized, and fastpaced -- out of shots he combined from three locations: Kyiv, Odessa, and Kharkiv. Mikhail Kaufman was the film's cinematographer and played a character in the production. He could rightly be considered to be a coauthor of the film. However, during the filming brothers quarreled and did not work together again. In the film the brothers employed almost all existing special filming and editing techniques current at the time, from double exposure to slow motion. The film flopped at the box-office but had enormous influence over the development of documentary film as a genre. Many of Vertov's innovations are now de-facto working standards of commercial documentary film-making. 75 Vertov's next project The Donbas Symphony (Enthusiasm, 1930) also flopped at the box-office. It closed within a week. This was the first Ukrainian sound film and the first of Vertov's films with a soundtrack. In the film, he attempted to organize the work of dozens of industrial machines and units into one recorded track. At the beginning of the 1930s, Vertov returned to Moscow where he , . -- 1929 . , , - , . . , . , : . , 76 . - . 2010 Entertainment Weekly � , �. (, 1930) , . -- . . (1934). , , , . . . , , , made a film that was extremely important to him personally: Three Songs About Lenin (1934). He dedicated this film to the ten year commemoration of Vladimir Ulyanov's death. This was the first of his films to enjoy public popularity. The film was significant for Vertov. It was his attempt to show his loyalty to the authority, though it is known that in private conversation Vertov called Three Songs... his "party membership card", following Dovzhenko's lead. The film did well at the box office, but nonetheless closed within a few weeks. Vertov didn't understand why the film was pulled, though the answer was rather straightforward. Stalin was theleader of the Soviet Union at the time, but Three Songs included nary a song about him. A while later, Vetrov attempted to atone for his ideological shortcomings with Lullaby (1938). The film was initially intended as a panegyric to women and mothers, but the director turned it into an ode to Stalin. The cinematic formula, i.e., "Stalin as the Father of the Nations", reached its nadir in Lullaby. Vertov metaphorically depicted Stalin as biological father to all soviet children. This film proved to be the last independent project of Vertov. He rightly understood the request of the party to glorify the leader but failed to add the right ideological tone to his work. He had produced a poetic film while the party had expected a more straightforward, simple work replete with readymade ideological slogans. . , 1928 Dziga Vertov. Storyboard for Man with a Movie Camera, 1928 77 As time passed, the leadership of Sovkino (Soviet Film) rejected most of Vertov's film requests. When he was allowed to film, he was afforded no independence. His later films suffer for their absence of experimental courage and avant-garde spirit. He made ordinary, mediocre documentary films filled with banalities. When asked during the 1940s how he was feeling, David Kaufman replied, "Don't worry about me, Dziga Vertov is dead". During the Second World War, Vertov was evacuated to AlmaAta (Kazakhstan) and there made his last film, To You, the Front (1944). Vertov eventually returned to where he started his career: working as a ... � �. , ' . , . , , . (1938). , , . � -- � , . 78 , . , , , . (1930) Stenberg Brothers. Poster for Dziga Vertov's film Enthusiasm (1930) . , . . , . i i i . , , . , , : � , -, , �. , regular editor in the newsreel division. He continued to submit requests for feature projects; his requests were continually denied. Vertov's disgrace was not difficult to understand. He belonged to the avant-garde, leftist artists, whose lives under Soviet authority were typically nothing less than tragic. Dziga Vertov fostered connections that would have been dangerous for a soviet citizen. His youngest brother, Boris Kaufman, lived on Polish territory prior to the Revolution, and later immigrated to Paris and from here to the United States. In the West, Boris Kaufman became a well-known film director, meeting David on occasion in Paris at the beginning of 1930s. Considering the purges of the 1930s, a relative like that could put one's life in grave danger. In 1938, Mikhail Koltzov, Vertov's close friend, was arrested and executed as an English spy. The NKVD typically kept a close eye on all the acquaintances and relatives of an executed spy. Finally, Vertov earned his share of enemies among influential film bureaucrats during his tenure at Sovkino. 79 The fallout left the director with little opportunity for self-realization. After the war, he was forgotten and dishonored. He fell victim to soviet anti-Semitic campaigns, the so-called "fight with cosmopolitism", initiated by the government. The scriptwriter Lev Roshal remembers: "When Shcherbyna, the Deputy Minister of Cinematography, gave a political speech devoted to the fight against cosmopolitism, he and his comradesin-arms were striking directly at Vertov and his Man With a Movie Camera, even though by then the film was already 20 years old. Vertov gave a speech in response and during it he felt ill. He was carried off the stage hardly breathing. They put him on a leather sofa in the control office. When the meeting was coming to an end, the Deputy Minister entered the control office, stepped over Vertov, walked up the desk, dialed his home number and said, `we're almost finished here, everything is going well, we're finishing up. Heat up the lunch.' And Vertov was lying there after a heart attack." At the beginning of fifties David Kaufman reconciled with his brother Mikhail. This friendship was his lone solace during the last years of his life. David Abelevich Kaufman passed away in Moscow on 1 February 1954. . , . . -, -, 1920- , , . -, , , '. -- -- , , . i , . . , 80 , , . , , . . , , , � �. ' . -- , . 12 1954 . () , 05 1897 -- 11 1980 -- , -, ( -- , -- ). , , . , , . . 1914 , , - 82 , , -- , . . : 1918 , , , . -- 1922 -- , 1910- . Mikhail Kaufman as a high-school student, 1910s -- , ' . ' , , . 1922- , , . , ' . ' , ( -- ), , , . MIKHAIL (MOISEI) KAUFMAN CINEMATOGRAPHER, DIRECTOR 5 SEPTEMBER 1897 - 11 MARCH 1980 Mikhail Kaufman was a cinematographer, director of documentary films, the middle of three brothers Kaufman (the older, David, known as Dziga Vertov, and the younger, Boris, were prominent artists of Soviet and French avant-garde cinema respectively). He was born in Bialystok within present-day borders of Poland into the family of Abel Kaufman, an antiquarian, holder and administrator of a local public library. Mikhail's parents belonged to that part of Jewish intelligentsia which sought assimilation into Russian culture, therefore the boy was sent to a Russian school. Mikhail was fascinated by photography already in young age. 83 In 1914, fleeing from the First World War as the Russo-German front passed near Bialystok, the Kaufman family moved to the quiet Kyiv and then to Mogilev, where Mikhail graduated from high school. Following the older brother, he moved soon to Moscow. Both older Kaufman brothers welcomed October Revolution with fascination: since the very beginning of 1918, Dziga Vertov had been taking an active part in creating Soviet cinema propaganda, thus becoming, in fact, the founder of this particular genre. During entire civil war period until 1922, Mikhail served in the Red Army, where he used the chosen name Mikhail Abramovich for the first time in military documents. Carrying out his duties as a head of an automobile garage, Kaufman improved his knowledge of mechanics, for which he had a lot of talent. , , 1910 . Brothers Boris, Mikhail and David Kaufman, about 1910 Since 1922, at the invitation of his brother David, already better known as Dziga Vertov, Mikhail Kaufman worked in All-Russian Photography and : �... . ��, . : ( ) , . . , , . , . , . ... , , ". , . , 84 . (1922), - (1924), (1926). , . 1926 (1929) Mikhail Kaufman filming Dziga Vertov's Man with a Movie Camera (1929) : , . , . , . . , - ' , , - Motion Picture Department. Like Vertov, Mikhail Kaufman started his film career as an organizer of photography (a film administrator). The same year, together with his brother, he organized an association of cinema avant-gardists kinoki (cine-eyes), which also included Elizaveta Svilova (in future, Vertov's wife), Alexander Rodchenko, Alexander Lemberg, Ivan Belyakov. Later, Mikhail Kaufman recalled: "...I wanted to start shooting on my own. Director of the film factory gave me the key from an old `Path�' storehouse. There I found two cameras: Path� (we called it `a camel') and a lightweight camera that remotely resembled future cameras. I took it and remade it by myself. I had technical abilities since childhood, I loved tinkering, and all these came in handy later. When I was able to shoot, I made a more perfect device. That's how I got the camera. And as to film... I took scraps of unused film returned by cameramen and glued them". Since then, Kaufman conducted ongoing experiments to improve cinematographic equipment, creating manually new mechanical and optical accessories. 85 Till the end of the twenties, Mikhail Kaufman had been cooperating effectively with Dziga Vertov, implementing a revolutionary aesthetic theory kinotstvo (i.e. the theory of cine-eye, "cine-eyeism"), which they developed together. They work together on films Trial of the Socialist-Revolitionary Party (Protsess Eserov, 1922), Cine-Eye (Kinoglaz, 1924), The Sixth Part of the World (Shestaya chast mira, 1926). At the shooting of these films, Kaufman worked not only as an operator, but also as a co-author. In 1926, together with Vertov's student Ilya Kopalin, he created his first film as a director: a documentary Moscow permeated by lyricism and biologism which in the future will be features of Kaufman's individual creative manner. Kinopravda as well as cine-eye were largely based on the small technological revolution organized by Kaufman. Before him, cameramen tried to capture the event on film as accurately as possible and avoided to express their own vision. Kaufman invented instead new methods of shooting and developed technical equipment for them. He reworked movie cameras, constructed new camera lenses and produced a variety of filters to shoot '. , ' -- , , -- . . , . , . : �... -- . ', , , , . , , , , 86 ��, , '�. �� , , . , : , , . 1927 , . (1928), . (1929), , , , . , , , " ", things hitherto unseen or to represent differently quite familiar objects. Thus, during the filming of Moscow, Kaufman designed and assembled a special camera lens for night shooting with a very wide diaphragm aperture and antireflection lenses, by means of which one can take pictures of nocturnal landscapes with no additional lighting other than normal street lighting, which had been considered impossible until then. That was Mikhail Kaufman who made the famous shot of an eye in the camera aperture. It was later used in the film Man With a Movie Camera, and the image itself became a kind of logo and symbol of kinoki. Kaufman not only invented technical innovations, but also developed original filming techniques. Later, he defined the principles of his experimental work: "...Cinema is an illusion. Therefore, it is important always to remember that we do not copy life, we create an image of reality, and all the techniques, nuances, effects in shooting serve to create that image. I used telephotography emphasizing a big role of medium and long shots, made tracking shots which allowed to `track', observe people in the frame not letting them out of sight of the lens". 87 With the start of "anti-formalist" campaign in Russia, which effectively put an end to Soviet-era avant-garde experiments, the Kaufman brothers were subjected to withering criticism. After his dismissal from Sovkino, Dziga Vertov decided to move to Ukraine, where many Russian artists had been moving: they found protection here in the person of Commissioner of Education of the People's Commissariat of the Ukrainian SSR Mykola Skrypnyk, an ideologue of Ukrainization policy who opposed dogmatism of Russian Bolsheviks. Then, in 1927, Dziga Vertov, along with Mikhail Kaufmann and Elizaveta Svilova, found jobs at VUFKU, where the management had a favorable attitude towards their experiments. Here they made film The Eleventh (Odynadtsiatyi, 1928) dedicated to the revolutionary transformation in the USSR. (1929) Mikhail Kaufman filming Dziga Vertov's Man with a Movie Camera (1929) . , , . , -- , . , -, , , . , , , , . 88 , . , , �� -- . 1929 , (1929) Mikhail Kaufman filming Dziga Vertov's Man with a Movie Camera (1929) , . , , : , . �� , , , : , . , . -, ��: . , ��, Next Ukrainian film of the Kaufman brothers Man With a Movie Camera, the idea of creation of which, obviously, was Mikhail Kaufman's, was intended by Dziga Vertov to become a programmatic work of the cine-eye movement. Kaufman, who was traditionally a cameraman in the brotherly tandem, was also a protagonist of the film performing a role of "the man with a movie camera", around whom a reflexive structure of the work was built. However, after the filming, disagreements as to the role of director in creation of a cinematic image became the basis for creative and eventually personal rupture between the brothers. Mikhail Kaufman did not accept the edit of the film proposed by Vertov and Svilova: Man With a Movie Camera seemed to him a chaotic, meaningless and senseless work. He believed that, instead of a film-manifesto, Vertov had edited an empty set of frames, where episodes could be rearranged without loss of meaning, too amorphous as they were. In fact, Kaufman wanted a director to tell the audience about the reality by means of the film, while Vertov believed that the reality itself had to talk to the viewer through the mediation of the director and the film. 89 Nonetheless, Kaufman did not abandon the principles proclaimed in the manifesto of cine-eye. He was still interested in the cinema that speaks its own artistic language without the aid of "crutches": intertitles and actors. In 1929, in contrast and in some ways contrary to Man With a Movie Camera, he created a quite independent film In Spring, where he served both as the author of the idea, director and cameraman, and offered his own interpretation of the theory of cine-eye. Unlike Vertov, in the film In Spring Kaufman used not mechanistic but vitaistic imagery: vernal awakening of nature at the same time became a metaphor of birth of the young proletarian state, full of potency of development. If Vertov admired "life" of vehicles in his films and people interested him so far as they followed mechanical movements, Kaufman was interested in human beings: their vital plastic, emotional portrait. In Spring, therefore, can be considered an independent creative manifesto of Mikhail Kaufman, his own cancellation of the theory of cine-eye. Audience and critics missed metaphorical imagery of the film and treated it as popular science movie about biological issues: it was received coldly and had for a long time been forgotten. Vertov, who did not forgive his brother's "betrayal", argued in private , . 1931 . (1931), (1933), (1936), , (1939) (1939). , , . 1941 1977 ( -- ). 90 -- , - , . ' ( ', , 1920- . Mikhail Kaufman, 1920s ). 1960- , , . . ', , , 1920- . � , . , , , �� . -- �. correspondence that Kaufman had not been able to express anything new in In Spring compared to Man With a Movie Camera. In 1931, after the destruction of VUFKU, Kaufman returned to Moscow and continued to shoot his own documentaries. As a director, he created following films: Unprecedented Campaign (Nebyvalyy pokhod, 1931), Great Victory (Bolshaya pobeda, 1933), Air March (Aviamarsh, 1936), in which aerial cinematography was an absolute novelty, Our Moscow (Nasha Moskva, 1939) and Those Will Not Deliver Up (Eti ne sdadut, 1939). Considerably innovative and high-tech, these films, however, did not attract such attention as independent works of Vertov did. Since 1941 and until his retirement in 1977, Mikhail Kaufman worked at the film studio of Mostekhfilm (later, Tsentrnauchfilm). There he made nearly twenty documentary films of various genres: film portraits, popular-science films, historical and even satirical movies. But even in old age, Mikhail Kaufman associated his greatest success with years of cooperation and creative disputes with Dziga Vertov (the brothers restored friendly relations in the fifties, shortly before Vertov's death). In the 1960s, with renewed interest in works of Dziga Vertov in the Soviet Union and especially abroad, Kaufman regained the favor of authorities. Together with Elizaveta Svilova, he became the most active promoter of his brother's works. In the last interview that Kaufman gave to film expert Galina Kopalina, the patriarch of Soviet documentary mentioned only those films which he made jointly with his brother in 1920s. (1929) Still from Mikhail Kaufman's film In Sping (1929) 91 "It was interesting for me to capture phenomena of life such as they were. And I think one does not need to have Vertov's courage to `project' this life on the screen. He had the gift to perceive phenomena poetically, I was able to put them into the image". MIKHAIL KAUFMAN DJ DERBASTLER ( ) 92 , , , -, . minimal, noise, indie-techno, experimental music, alternative guitar music. DERBASTLER - - Torba Sound 95, Who is Next, SALEction 2000, Music for Space Lorry Drivers, i - Torba Partys 95-97, Yarn Radiodelo, Shake Hi-Fi, Electrics, Foa Hoka, 2009- � Mama Diaspora. Torba tapes, Sale! rec, Thermos rec, Extra-Estrada rec. 1995 DERBASTLER - , 1998 Ukrainian Fashion Week. DERBASTLER , Manifesta 5, , , , , , Pinchuk Art Center Koktebel Jazz Festival, - , -, KIMAF, , Dream Catcher Contemporary Art Festival . DJ DERBASTLER (IVAN MOSKALENKO) Well known as a Ukrainian DJ, musician, music producer, Ukrainian club and rave pioneer, and a legend of the Ukrainian underground. He started off creating music in minimal, noise, indie-techno, experimental, and alternative guitar music styles. He produced and mastered the earliest compilations of the Ukrainian electronic scene including, Torba Sound 95, Who is Next, SALEction 2000, Music for Space Lorry Drivers. Ivan was also musical director for the first rave Torba Partys 95-97, and founder of the underground projects Yarn and Radiodelo. He has played in the bands Shake Hi-Fi, Electrics, Foa Hoka, and since 2009 has been active producing the international project Mama Diaspora. He is the co-creator of the Torba tapes, Sale! rec, Thermos rec, and Extra-Estrada rec independent labels. Since 1995, Ivan DERBASTLER has authored the soundtracks for collections by clothing designer Lilia Pustovit, regularly taking part in Ukrainian Fashion Week since 1998. Ivan has participated in many international contemporary art forums: the Venice Biennale, Manifesta 5, the Palais des Festivals at Cannes, the Vienna Academy of Fine Arts, the Soros Center for Contemporary Art in Kiev, the Goethe Institute German Cultural Center, the National Museum of Ukrainian Art, the Pinchuk Art Center. He also finds time for performing at international musical festivals: the Koktebel Jazz Festival, Jazz Carnival in Odessa, Shargorod art fest, Kyiv International Media-Art Festival KIMAF, the Moscow New Sound International Youth Festival of alternative music, and the Dream Catcher Contemporary Art Festival among others. 93 IN THE NURSERY , -. 1981 - , . 94 When Cherished Dreams Come True (1983), Sonority (1985) Temper (1985), Joy Division Twins (1986), ' ' . Trinity (1987), Stormhorse (1987) K�da (1988) (Dolores Marguerite C) ' (Q). In The Nursery . L'Esprit (1990), Sense (1991) Duality (1992) ' . 1993 In The Nursery (An Ambush of Ghosts), . ' (Interview with the Vampire: The Vampire Chronicles, 1993), (The Rainmaker, 1997) , (The Aviator, 2004) , (Gran Torino, 2008) . 1996 In The Nursery Optical Music Series, . - (1920), (1929, 1997) , (1929, 1999) , (Hindle Wakes (1927, 2001) , (1926, 2001) ' (1928, 2008) . In The Nursery - Anatomy of a Poet (1994), , Deco (1996), - Lingua (1998), , . 2011 In The Nursery Blind Sound, . directed by Everett Lewis, which opened the band's way into cinema. Since then, music of the Humberstone brothers has been used in the following films: Interview with the Vampire: The Vampire Chronicles, 1993, The Rainmaker (1997) by Francis Ford Coppola, The Aviator (2004) by Martin Scorsese, Gran Torino (2008) by Clint Eastwood. In 1996, In The Nursery launched a series of albums Optical Music Series as a part of which the group created new soundtracks IN THE NURSERY Are a British electronic band working in musical styles of Industrial and Neoclassical Dark Wave. The band was formed in 1981 by twin brothers Clive and Nigel Humberstone in Sheffield, England. After first three releases When Cherished Dreams Come True (1983), Sonority (1985) and Temper (1985) created under the influence of the post-punk group Joy Division, the Humberstone brothers recorded their first full album Twins (1986) that featured soft and expressive theatricality. Vocalist Dolores Marguerite C and percussionist Q joined the work on three subsequent albums Trinity (1987), Stormhorse (1987) and K�da (1988). During this period, In The Nursery's music evolves toward classical instrumental sound. The next three albums L'Esprit (1990), Sense (1991) and Duality (1992) were marked with even softer sound. In 1993, In The Nursery create their first soundtrack for the art house film An Ambush of Ghosts for classic silent films. The series opened with a soundtrack to the horror film of the German classical film director of this genre Robert Wiene The Cabinet of Dr. Caligari (1920), which was followed by new soundtracks to the film Asphalt (1929, soundtrack 1997) by Joe May, Man with a Movie Camera (1929, soundtrack 1999) by Dziga Vertov, Hindle Wakes (1927, soundtrack 2001) by Maurice Elvey, A Page of Madness (1926, soundtrack 2001) Teinosuke Kinugasa and The Passion of Joan of Arc (1928, soundtrack 2008) by Carl Theodor Dreyer. Meanwhile, In The Nursery produce conceptual albums Anatomy of a Poet (1994), where English writer and philosopher Colin Wilson recites romantic poetry; Deco (1996), inspired by the decorative style of Art Deco; and Lingua (1998) based on vocal parties performed in a variety of languages. In 2011, In The Nursery released their most recent album Blind Sound in which percussion plays a large role. 95 I I N S P R I N M I K H A I L K A U F M A G N / ABOUT , (1930) , . 1930 . In 1930 in Ukraine, this film as well as Earth made a profound impression on us. Georges Sadoul, a French cinema writer Mikhail Kaufman's In Spring (1930) is more of a cinematic poem than a documentary. - , , , . 98 , . With In Spring, we have discovered a totally new form of documentary cinema, a cine-poem, where the lyric theme of thaw and swelling buds accompanied the advancement of USSR towards socialism without concealing still existing survivals of the past. I saw this film thirty-seven years ago but still keep unforgettable memories of it. 99 , ,, . 100 . .. 1990- , , . 1990- - (1998), - (1999), SANCTUS (2001, ), (2002), Morituri te salutant (2003), (2004), -2 (2005), (2006). (2008) 1990-2000- (1992, 1993) -, (1993), (2003), -, FUSION FESTIVAL (), BRANDSHOF FESTIVAL (), () . (2010) , 2001 . 2000 - � . 2010 - Ukrainian Fashion Week 2010. Since the 90s, Kokhanovsky has been composing scores for productions of experimental theater director Dmitriy Bogomazov, including: Philoktet-Concert, 1998; Faust -- A Fragment, 1999; Horlo 2011 (1929). SANCTUS, 2001, which won a Kyiv-Pectoral Award for "Best Stage Musical Score"; Morphine, 2002; Morituri te salutant and Edin, 2003; A Midsummer Night's Dream, OLEKSANDR KOKHANOVSKY Contemporary Ukrainian composer Oleksandr Kokhanovsky is the creator of experimental musical theater productions, films, and performance art pieces. After graduating from the Kyiv Tchaikovsky Musical Academy's piano and composer faculties, Kokhanovsky formed, in the early 1990s, the band Tsukor � Bila Smert (Sugar-White Death), recording their debut album Manirna Musyka (Mannered Music), and heading out on the international festival circuit. and Roberto Zucco, 2004; A Little Wine 2, 2005 and Woman from the Past, 2006. The composer scored the Yevhen Kurman production Neporozuminnia (The Misunderstanding) in 2008, and Larysa Venedyktova's Natomist Narodzhena (In Place of a Birth) in 2010. The latter two were produced at Kyiv's Free Stage Theater, where Kokhanovsky has been the musical director since 2001. 101 In 2000, for the Goethe Institute German Cultural Center sponsored Classics of Expressionist Cinema festival in Kyiv, During the 90s and early 00s, he released a number of albums including 1992's V Hrafikakh Pylu (Diagrams of Dust), and Kolyskovi Ihrashky (Cradle Toys) from 1993, with the band Pan-Kifaret; Ukrainski Andegraund (Ukrainian Underground), 1993, and Kosmicheskye Dal'noboyschyky (Space Truckers), 2003, and Indposhyv (Individually Tailored), with Foa-Khoka. During this time he also performed at international music and theater festivals including the Fusion and Brandhof festivals in Germany, Ukraine's Berezillia, and others. Kochanovsky was commissioned to score Friedrich Wilhelm Murnau's silent horror classic, Nosferatu, and Fritz Lang's Der M�de Tod (Destiny). In 2010, the composer set the musical stage for the unveiling of Fedir Vozianov's new clothing line during Ukrainian Fashion Week. Kokhanovsky has recently composed a new score for Michail Kaufman's 1929 experimental film In Spring. I REVOLUTIONARY EPIC -- - , . . , , . , . , . , , . - , . , ( - , ) . , - . , , . : 104 -. - , , , . . , . , , , . , . , , � . . , - . , , , . , , , , , . : � �, � � ( ). , . . , , . , . - ZVENYHORA -- PEREKOP SERHIY TRYMBACH Zvenyhora is an expanse in whose depths a treasure is concealed. The treasure of mythic import that will aid in the rebirth of the Ukraine that was. In Zvenyhora there lives a Grandfather who is as eternal as the steppe. Still other characters from history make up this traditional park of legend. First there are the Cossacks and their enemies: the Polish nobility and clergy. Their visions, tales, and dreams give rise to an image of a Ukraine now gone. Here also the history is revealed to some degree by means of a surrealistic epistle, staged as a dream, the facts being constantly subject to doubt. Moreover, in this reality -- and its most available, most natural cultural association Gogol's juxtaposition of the epic past with the present agrarian state -- we are shown the arduous routine, the labor for daily bread. The development and dynamic of history are absent here: subordinated to the natural, seasonal, cycles of agricultural endeavor. Switching on the "historical current" would demand a demolition of that routine, an interruption of its natural cycle. The Ukrainian discourse is symbolized in the eternal grandfather's two grandsons -- the agrarian and the progressive-revolutionary. Pavlo, the unreconstructed nationalist, is convinced that nothing need change; Ukrainian substantiality need only be drawn out of its hiding place and the present, traditionalist manner of life maintained. He sees great dangers in civilization in general; in technology in particular. In the closing frames he sends out his grandfather to throw a grenade under the train bearing the blossom of Bolshevism. 105 The other grandson, Tymish, has gone over to the insurgent, Bolshevik side. It irritates him to see his counterpart Pavlo caught in the daily routine. Bearing in his heart the iron will of progress, his task is to pull this world down to ruin. The picture of farm life is exchanged for panoramas showing industrial fabrication, the camera panning upward, up and beyond into the new vertical of history. The grandfather, the eternal national spirit, will -- and must -- take his place in the very train which carries them all toward a brighter tomorrow. Thus, Zvenyhora unfolds its layers of the collective unconscious: that which Ukrainians lived for, images with which they could identify closely. This technique produces a stream of images smacking of pure surrealism: is this not precisely what Andr� Breton called, "pure psychic automatism... to express... the real functioning of thought"? The picture opens as a free-flowing tide of associations, characteristic of a then-current, and delusional, grassroots consciousness. The filmmaker inserts his own subversive view into the matter. Take, : , . . , , , . , , , . , . 20- , , , , , , . ? , - , (��, ) . , , , , . 106 1927. : " . , , , , . , : - . . . : - "". , , ..." , , � . . , , . , -, . " ", , . , . , , . for example, the Grandfather's discovery of an ancient artifact, viewed as a sign from a pristine, vanished epoch. Running to fetch it, he watches as it is unexpectedly transformed into a worthless cup, presenting us with a characteristically polyvalent surrealistic symbol: our first parsing meets with immediate rejection and results only in its own antithesis. One may read this as his resistance to that deeply held system of populist belief and its attendant, significant, aesthetic. The inveterate subconscious is blown apart, deprived of its customary markers so like to Old Testament signs and symbols. In addition, the representative of that backward, antiquated collective unconscious, the grandson Pavlo, is depicted almost exclusively as a satirical character. Dovzhenko himself served in Symon Petliura's opposition army, yet his sympathies here lie fully with the Bolshevik Tymish. With the close of the 1920s it was clear that Ukraine had lost, and not for the first time, the battle for independence and the opportunity to define for itself a cultural identity. What are the reasons for this? In both Zvenyhora as well as his next film Arsenal, Dovzhenko, recalling Gogol's Mirgorod, levels his response at grass-roots, "traditional" Ukrainian consciousness: embodying it in the archaically regressive behaviors of those draped in their embroidered "folk-style" clothing, swallowing their stuffed perogies, doing their traditional dance steps, and holding on for dear life to the delusions of the collective unconscious. 107 As a project, Zvenyhora got its start in June of 1927. Pavlo Nechesa, director of the Odessa Production Studios recalls: "We were discussing the screenplay for Zvenyhora. Directors, cameramen, art directors, were all typically present at these meetings. Almost everyone was against the script, and one director, Perestiani, even said, `this is just a waste of time. No need to talk about it; let's just put this rubbish out of our heads. 'Dovzhenko stood up at the end of the meeting and said, `I'll take, and make, this `rubbish''. Which he did; and what he made astonished us all." But astonishment was only the start. The film is regarded by the majority of film critics as the first truly Ukrainian film. Not that films had never been shot in Ukraine prior to the making of Zvenyhora: they had. They also, by and large, had had little to do with Ukraine; more precisely, little to offer beside a Cossak-trousered, Hopak-dancing perspective of the nation. Ukrainians were portrayed as some countrified, marginalizedcultural strata, as provincial as they were parochial. It was Ukraine as ghetto: inaccessible to the outside world. Zvenyhora served to shatter this limitation, this insularity, that defined Ukraine as an Imperial outpost with no proper connection to the broader world culture. � . : " . ', " " ". , 1939- ( , 30-, "" - ). (1927) : " , , , . , , . , , , . , ? , . , , , , , 108 , . . . , , . , ". � ( ) , ( , , - ). , � , , , . , , ... , , . , , , "", , 20- . , , . ' . , , " ". , , . , From the very start of filming, Dovzhenko's relationship with the screenwriters was problematical. The director explains in his autobiography: "The screenplays [they wrote] were full of supernatural and nationalistic tendencies. I reworked ninety percent of it and those writers made quite a show of removing their names from the credits. That was the beginning of my problems with the Kharkiv writers". These words, written as they were in 1939, seem less than credible, especially when one rereads the unambiguous, uncompromising statements Dovzhenko made near the end of the 1930s, duly recorded by "state informants", regarding the current state of Ukrainian politics. In his essay, Zvenyhora (1927), Yurii Yanovsky adds the following perspective: "The writers of Zvenyhora, Mykhailo Yohansen and Yurtyk (Yurii Tiutiunnyk), are afraid of my feverish approach. They say there won't be anything of theirs left in the film. But while they tell a story with words, I have to use living, concrete, real, even unreal images to manifest their thoughts. Do you understand how difficult that is? I do, however, know what they want: they want a legend distilled from every extant Ukrainian legend, a romance capturing every extant romance. And the wasting of it all in our day, in our work, in our materialist world-view. How strange, that legend of all legends. How peculiar that romance of all romances. And how unanticipated the effect it has on our psyche. I made it all concrete; as concrete as a film director could". 109 The core evidence -- the intent of the screenwriters that Dovzhenko adopted -- lay in their singular synthesis of the national mythology and its particular thaumaturgy. In Zvenyhora they took the legendary mythologies and moved them beyond the usual, accepted, traditional boundaries, condensing them. Their take on Ukrainian supernaturalism bore the markings of its cultural origins while escaping its standard interpretation. The idea of Zvenyhora, according to some information which has come down to us, belongs to Yurii Tiutiunyk. The style of the film, however, is most likely Yohansen's: the "most playful" writer of the 1920s, according to author Solomiya Pavlychko. Poet, fiction writer, and author of a number of books, Yohansen belonged to the Ukrainian literary groups HART and VAPLITE. In his work he was deeply committed to the attempt to "elevate Ukrainian literature to the level of the Europeans." The storyline of the "hidden treasure" in Zvenyhora is hardly novel; identifiable throughout Ukrainian history. The most recent incidence of this legend arose at the end of the 20th century when talk arose regarding the treasure of Hetman Polubotok: gold bars , , , , . � . , ! (1992)... . � . . : , , / / / (...) , - � , , , . , , , ( , � , , ). ( , , ) , V . 1920- , . , , , 110 � , (, ) . , . , , , , " " ( ), '-, - ( ) . , , , , , . , , . , . , � � "" , . , , . � � . , that had been deposited for safekeeping in an unnamed English bank. Their discovery and return would radically alter life in Ukraine, it was said. This sporadic, yet enduring, fascination with the age-old myth again found its way onto the screen, in the V. Kasteli feature, Onward to the Hetman's Treasure! from 1992. Undoubtedly, the most defining example of these myths can be found in Taras Shevchenko's poem The Unearthed Tomb where reunification with Russia is depicted as the death-knell for Ukraine. The poet concludes: The Dnieper, my brother, runs dry / I am forsaken / And the grave of my beloved / Lies unearthed by the Muscovite... In the film, we are treated to scenes set in the 9th through 11th centuries, involving the Ukrainian girl Roksana. She betrays her people, falling in love with the leader of an invading tribe, only to later change her mind and rebel against him. The leader's vengeance includes cursing Roksana: onscreen we see a treasure disappear underground. The Grandfather's retelling of the legend is veiled in mist, echoing through the depths of time, in cinematographic soft focus. Scenes with which the film opens are set the period of the Haidamaky, the 18th century. Later, the story turns to the time of the Russian Civil War and to Dovzhenko's own era, the 1920s. Finally, the film lands in a triumphant, fairy tale-like, future. It is a time when the industrialization of the nation is making bold strides; a time when benighted peasants are educated -- albeit, hastily -- and holding to the principles of some well-defined rationale, embark on the task of radically altering the world around them. From chaos order is born; its pristine contours slowly, faintly, revealed in the newborn day. 111 From time to time, an accusation arises against Dovzhenko that he "proved disloyal" to Ukraine and its national liberation movement with his harsh characterizations of its membership. These charges typically find their impetus more in subjective, politically-motivated argumentation, than they do in any substantive line of reasoning, especially when one takes into consideration the extant body of the director's work. Like Shevchenko, this artist in film possessed his own coherent vision of the future of the nation; the conceptual structure of his work must be understood within the framework of that vision. Put it another way, Dovzhenko the artist had a concrete Ukrainian national idea, and this is key. His detractors took issue with the core and direction of his national idea; and, much like the Grandfather in the film, they busied themselves in the attempt to find, and dig up, the Ukrainian image, its treasure, its identity, its hope for tomorrow, in the past. It is certainly for this reason that Dovzhenko mocked the nationalist movement of his day. It is in this very point that the entire dialogue finds its focus. , � � , . , , , . ' 10- . 1920 , ' , , , . , . ( V , ). , . 112 . (): ,, . . ". , : ,, , ". : ,, ? , ". : ,, , ". , . , : , . , , . , . , ( , ) . : ' () . ' (1930, 3) : ,, � , (...)". � ,, , ' ' ". , , ,, � Ivan Kavaleridze formulated his own, aesthetic national view, similar in scope to that of Dovzhenko. In his cinematic epos Perekop, we are presented with a collage characteristic of the then-current romantic conceit of the Executed Renaissance of writers; a Renaissance preoccupied with comparative epochal histories, paeans to heroic battles and, in particular, with a uniquely creative spirit of experimentation in their search for novel means of expression in the medium of film. Film lacks any coherent narrative linearity; the film attempts to construct a pastiche of the situation on the time, often joining seemingly incongruous, even conflicting, images. Perekop came to screens at the time of the 10th anniversary of the capture of the town of Perekop. In November 1920, the Red Army with the troops of Ukrainian chieftain Makhno in the vanguard, broke through the defense of the White Guard under Vrangel, and entered the Crimean Peninsula. The first part of the film shows Ukraine in ruins as a result of the great wars at the start of the century. The director employs the Shevchenko motif of "the Great Ruin of Ukraine", which depicts the latter half of the 17th century, a time marked by great internal Ukrainian conflict and the external aggression of the Russian Imperial Army. In Perekop he treats the delineations of an epoch which are not to be crossed. A conflict of perspectives about the future shape of the world. The rural affluent, the kulaks, assert: "We are not criminals. We follow God and our leaders. And we are mindful of the opinions of the west." The White Guard proclaim the merits of Empire, though they too are cognizant of the utility of the West: "We have Europe and culture behind us." Again, the kulaks: "What good are these factories? Producing less machinery, and more revolution. It would be better for us to provide the raw materials, and they the machinery." 113 Discussion intermingles with argument. The Bolsheviks offer their view that industrialization must be pursued. In only this way can the independence of the state be assured in all matters. The civil war is a fight for the self-determination of the nation that Ukraine not serve simply as a source of raw materials for other nations. The film continues with the war at the epicenter of its narrative. The forces that are striving to hold the nation back -- the wealthy rural class, the Russian aristocracy, and the French military -- are defeated. The closing scenes of the film are captivating: Kavaleridze films a monument, located in Bakhmut, which he designed in honor of the Bolshevik leader Artyom (Sergeev). , ' ". ,, , ' , ' '". , , . (1929 .), (1931), (1932). . , , , . , , . 114 � , (, ! � 30-), � . , . , . , , . , (1931), : ,, ", ,, ", . , ( ). � ( ) , . ' , , . - . In an interview with the film magazine Kino (Volume 3, 1930) Kavaleridze states: "The kulaks in my film are another `Perekop' which must be decisively defeated". There is yet a third "Perekop" which "is the fulfillment of our construction objectives as defined in the five-year plan." His conclusion: "my film is dedicated to three `Perekops': one military, a second on the elimination of wealthy peasants, and the third, the fulfillment of the five-year plan. My film is both feature and documentary...'' In his earlier films, sculptor/director Kavaleridze is troubled by a choice between conflicting world views and cultural approaches. He treated Ukrainian life in his lengthy, stereoscopic films Downpour (1929), Stormy Nights (1931), and Koliivshchyna (1932). In Perekop one observes a well-defined pathos in the recreation of the dramatic collision of eras. The story of a peasant who takes work in the construction effort in order to earn money for a cow captures in epic panorama the historic drift at the turn of the century. Artistically and ideologically, the film continues the European tradition of expressionism which had already been so convincingly depicted in Dovzhenko's Arsenal. 115 In his film, Kavaleridze vividly illustrates the central time-space relationship of artistic life of the period: the ancient patriarchal world reaches the culmination of its development; time accelerates under the popular motto of the 1930s, Go Forward Time!; and the scene moves away from the calm pastoral existence to the might of the industrial complex. Mankind moves to a new rhythm, finding in this real progress and hope for a shining future. The camera work and ingenious artistic sense of Ukrainian cinematographer Mykola Topchii deserve special mention. The sculpted expressiveness of the composition and the existential construct of the frames largely overcome the film's yet faintly visible ideological schematic. Kavaleridze's next film, Stormy Nights (1931), was banned from the screen for its "formalistic deception, rejection of the role of the Communist Party, and the fetishism of randomness." Significant problems would also arise with his film Koliivshchyna, in which the censors were dissatisfied with his depiction of the tsarist empire, (likely due to perceived unfavorable parallels with the current Bolshevik efforts at empire-building). Downpour has not been preserved, leaving Perekop as the sole work of the master which was not violated by the censors. Left intact, it is a screen monument of the time, when illusions of a national renaissance served as an indispensible basis for Bolshevik ideology. Within two or three years, those illusions would be gone without a trace. 116 : , , , , ', , , , , . , . II, . , . Z V E N Y 117 H O R O L E K S A N D R A D O V Z H E N K O STARRING: MYKOLA NADEMSKY, SEMEN SVASHENKO, LES' PODOROZHNYI, POLINA OTAVA, HEORHII ASTAFYEV, LEONID BARBE, VOLODYMYR URALSKY, MARIA PARSHYNA, MYKOLA CHAROV, I.SELIUK, O.SIMONOV II, Y.MYKHALEV, T.DOVBYSH / ABOUT , - , , , . -- , : � 20 �. No doubt, linearity dominates film the , , . , 118 , - , . Some directors and screenwriters strive, even while slavishly adhering to a more , , . It's trendy now, isn't it, to make films with three-four actors and all the action - , , , - ? , � 20 �. What would a filmgoer say to me if I , � � ? rolled a whole two-thousand meters of film -- encompassing an entire millennium -- past his eyes? Without any intrigues, That "20 Years Later" opening legend can be so annoying. taking place in one room, nearly inside a single day? conventional impulse, and yet succeed in attaining a level of virtuosity. same way two-dimensional painting dominated Egyptian art for centuries. The use of shadowing giving us such clear, true, three-dimensional images on canvas, was in constant battle against charges of black magic and trickery. OLEKSANDR DOVZHENKO, DIRECTOR Zvenyhora ... is me: contradictory, visionary, often uncontrollable, quivering with an accute sense of conflict and the rhythm of the age. -- Is anything more annoying than a film opening with a legend: "20 Years Later"? ��, , . or love stories, or glimpses of Asta Nilsen or Malynovska? , , , . Or my millennial, primeval, charming, and yet slightly cunning grandpa? XVII , , 1914 . . Or 17th century Haidamaky, those awful horsemen, and the senseless slaughter of 1914? And a glorious string of civil war battles from our Great Revolution? , : �! , !� I can laugh out loud at my "other grandson" over there in Prague, spiting him: "You! Desolate, wilted flower: May you rot in your emigration!" , , 1927 , , . I'm driving our mighty engine forward, together with my "grandpa", reaching across the trenches to our German comrades, and that other, "faithful grandson" here at home, by our side, striving as one, and forward to new ... , . ? , : �, - , , . . , . � , . , , : � �, - ...You say that our children won't understand my films. What can I tell you? Am I to blame if I'm not there to stand up before each screening and offer: "Dear Viewer! If you don't understand something, don't jump to conclusions that what you're watching is incomprehensible and bad. Search inside yourself for the reasons behind your incomprehension. It is possible that you simply don't know how to think. My task is to force you to think when you watch my film triumphs of proletarian labor. 119 , , . � . -- . � . , , , , � - � . - / If the man sitting next to you whispers, `this is boring', get up, don't waste your time. Go find another film. Mine is a Bolshevik film." -- In good conscience I'll say that Zvenyhora was fascinating from its very premier. I had made it in one go: 100 days. Extraordinarily structurally complex, and on the surface, electric perhaps! It gave me, a self-taught producer, a great opportunity to try out my instrument employing every available genre. Zvenyhora was a singular () , 120 , , , , ', , , ... showpiece of my creative powers. The artistic community received the film with enthusiasm; people didn't look on it as incomprehensible or too complex. I, however, was walking around so proud of myself, bragging that I'm no common peddler of popular cinema, more like a , , , . professor of higher math! I wanted to spread the limits of the screen, to step away from stereotypical manners of speech and storytelling; to , , , : , ', .. [ ] . ' . , . start speaking with the language of great conclusions. SERGEI EISENSTEIN, RUSSIAN FILM DIRECTOR Let's say it this way: Dovzhenko's films are like pieces of flesh cut off of himself and deposited on screen. That is, his work is integral part of himself. In a sense, . , .., , . , ' . his pictures are his breath. Between his identity and his work there is not the slightest barrier. I would even say that in some instances it is harmful to him. Take Zvenyhora, for instance, made in his youth. That lack of separation was an obstacle to the picture's success. Zvenyhora was too intimate: like a conversation with oneself. , , ..., , , , , , . ? . , ' . , . � � , . . , , , . . , , . We saw, for the first time, scenes marked by an authentic, national, original, directorial vision, whose poeticism and genuine beauty surpassed all others. PETRO MASOKHA, ACTOR IN THE FILMS EARTH AND IVAN ...It is a film, whose depth of thought, structural complexity, diversity of genre from scene to scene, peculiar dramaturgy, and symbolic imagery confused even the most experienced and up-to-date audiences. Imagine it: how should a typical viewer respond? Here we are in a little, overcrowded venue. Everyone holding their breath. All eyes on the screen. It's not clear at all that anyone grasps what's happening on screen. More surprisingly, however, they all sit silent; stunned by the picture. People appropriate this image or that scene for themselves. I, for example, was stunned by the section where the sheaves of harvested wheat in the field turn into pyramids made of rifles. Before Dovzhenko, no one described the transition from peacetime to wartime so imaginatively or so succinctly. 121 , (1925-1933) ... , , ... MYKOLA BAZHAN, POET OF THE EXECUTED RENAISSANCE, EDITOR OF KINO MAGAZINE (1925-1933) ...Zvenyhora is deeply native film, the film of a nation that is being reborn... -- -- , , . , . , , , 122 . Zvenyhora deeply impressed everyone with the breadth of its ideas and the thought put into it. It was a historic symphony without equal in world cinematography. It was a film poem, an epos and a philosophy manifested in such deep imagery that few were able to uncover it, grasp it. ...It was epochal for Ukrainian culture: this ... , , . LEONID SKRYPNYK, , , . ... , , ... . � ... , . YURII LAVRINENKO, , , 1928 LITERARY HISTORIAN, CRITIC Zvenyhora's appearance on Ukrainian screens in 1928 was a sensation. Fantastic, WRITER OF THE EXECUTED RENAISSANCE, ART HISTORIAN Oleksandr Dovzhenko made Zvenyhora, and with it he inaugurated Ukrainian cinematography... Before, as everyone knows, while we had a film industry, there was no film. Zvenyhora is an example of film as art... Dovzhenko told what he needed to say using the language of film. film was an unexpected explosion, a sudden, shining victory. . , - , , , . . symbolic, authentic layers of action revolve around the main character, a patriarchal treasure seeker; an Eternal Father who has been on earth for two millennia. These layers combine to create the sense of a singular Ukrainian history and its unique and extraordinary path. In this film, Dovzhenko expressed his clear perception of eternal, natural beauty, and his Cossack interpretation of death as a part, a renewal, of life. YAKIV SAVCHENKO, POET OF THE EXECUTED RENAISSANCE, , , . : , , . . , , ' , - . , , , , � . ART HISTORIAN Zvenyhora stands out: far beyond anything that has appeared on screen to this point. 123 Everything about this film impresses: the bold creativity of the idea, the tremendous set designs, the unusual rhythmic power and social pathos. Director Dovzhenko repeatedly surprises you: first, with the most originally conceived material, and then with the way he ties together opposing layers of story. Even from the most risk-filled situations of the creative process he emerges triumphant. Dovzhenko's incredible, confident skill and his uncommon feel for cinematographic substance matched with his natural creative temperament combine to persuade and deeply move. ...individual scenes: the "execution" of Tymish, the General's speech before the ... : �� , , , � � , � . , � . rank and file, the mobilization for the Imperial war, the public lecture delivered by the "Ukrainian Prince" in front of the Prague emigrants, Tymish's farewell to his wife and her passing -- all these moments possess unprecedented artistic power. The film's editing, its staging, are masterful. GRIGORI KOZINTSEV, , : � �, �' �, , 124 . DIRECTOR After Zvenyhora it was hard to say simply that "the production was good" or "a new director emerges"; even the word "film" itself could be hardly used to depict what was happening on the screen. ON THE SHOOTING [] , - (1914). , ' ��. , �� , , , . , , OLEKSANDR DOVZHENKO, DIRECTOR At one point during the shooting of historical film poem, Zvenyhora, we needed to film a large-scale scene in a Ukrainian village. In the scene, the local women were saying good-bye to the men about to go off to fight in the Russo-German war (1914). 500 non-actors were involved in the shot. Before we started shooting, the director gathered everybody and gave a short speech: he spoke about the horror of war; about the great guns slicing countless Russians, Ukrainians and Germans into raw meat. The director made two deliberate choices for this scene: he chose the very street where these events had transpired twelve years earlier during the '. , , , . , . war; and, secondly, he placed the women who had lost their husbands in the war in the front row of the shot. This achieved the necessary effect: within five minutes, struggling under the weight of painful recollection, the set was filled with tears and weeping. The atmosphere was so powerfully charged that a sense : ' . , , , , . of despair and heavy gloom settled over even the men who were "going to war". And it was all so authentically characteristic of that time. Unprompted, the village soldiers began to sing a song they had sung many years before on their way to the front. The song united them, carrying them away. When the main crowd had moved 125 ' , , . , , , , , ... , , . off, one of the extras dropped to his knees and began kissing the ground as though he were saying good-bye. The cameraman shot some priceless footage that day: an impressive, deeply-felt, and genuinely tragic scene. YURII YANOVSKY, A WRITER FROM THE EXCECUTED RENAISSANCE, AND VUFKU ODESSA CINEMA FACTORY EDITOR , , We found Dovzhenko in the forest on a hill above the Dnieper. He was wearing a sleeveless, sport shirt and trousers you could buy for 2 rubles and 40 kopiok, very cheap. He was busy working and so . 2 . 40 . , . . didn't notice us right away. We stood a little to the side. Suddenly Cossacks started coming out of the bushes. The ferocity on their faces . . , , . , , . , . , ' , � , 126 -. , . impressed me. These were just simple dock-workers from Kyiv's Podil who had been transformed into glorious Cossack warriors. Knights who looked like convicts had escaped their hellish world and run to ours, sinners that we were. Their noble faces scarred by sword and sin and weather; a nose sliced in half, a battered brow, a severed ear, and so much more that would never grace the r�sum�s of these most excellent men. Every one dressed differently, and each one poorly. ...We looked on silently as these Cossacks sped by on horseback, observing how that Rapid camera ... . , , . . . . , , . , , , , , . captured them. On the screen everything the camera sees appears to be swimming. Horses and people swimming on dry ground. The look on their faces and the line of their bodies communicating powerful flight, but what we saw was hardly any motion at all. Employing this technique, the director took us back to ancient times when life moved more slowly; to an empty steppe, a vacant world. We see Cossacks racing madly but getting nowhere; the director opens up infinite space, a vast wilderness, and fills us with an almost imperceptible fear and exhilaration. , , . . It was at this point that he spotted us. Dovzhenko came over to us and firmly shook our hands. - ? , , . We laughed, and it was pleasant to do so; we could sense the pulsing talent in the - , , , . , , . , , , . , ? , . , , , , , , . . . , , . , . -- Mykhailo Yohansen and Yurtyk (Yurii Tiutiunnyk), the writers on Zvenyhora, are afraid of my feverish approach. They say there won't be anything of theirs left in the film. But while they tell a story with words, I have to use living, concrete, real, even unreal images to manifest their thoughts. Do you understand how difficult that is? I do, however, know what they want: they want a legend distilled from every extant Ukrainian legend, a romance capturing every extant romance. And the wasting of it all in our day, in our work, in our materialist world-view. How strange, that legend of all legends. How peculiar that romance of all romances. And how unanticipated the effect it has on our psyche. I made it all concrete; as ... : ' . , ' . . . ...there is one scene in Zvenyhora, the tale about an attack of Varangian warriors on a Slavic settlement. A girl, Roxana, spots the enemy and warns her people. A fight , with the Varangians follows. The girl becomes the prize of a Varangian Prince. concrete as a film director could. 127 work of this good friend. -- Are you watching my Cossacks? , . . , . . , . ' , , ... The scene had to communicate antiquity, and a certain unreality, as well as the historical aspect, the impressive dust of the centuries that covers those events from our sight. We began by prevailing upon the cameraman how it should be shot. It needed to show all these events as if behind a faint mist or a fog carried on the wind. Every plane of action set at the right angle. The actors persuaded to forget what they know about how people ... , . -... 128 , . , , , , ... move in the modern day. That Slavic scene excites like some ancient, tattered document out of history... Dovzhenko's crew doesn't like to be reminded how the scene with the recruits came off. On screen it's tight, impressively so, but the crew doesn't like to talk about it: the day they all broke into tears. The peasants were crying, the director crying, tears freezing on his cheeks. , , , 1927 , . Tears filled the eyes of the camerman Zavelev. The production designer Vasyl Krychevsky hid his face. LEONID BODYK, ASSISTANT DIRECTOR ON ZVENYHORA, ARSENAL, EARTH ... , . . , , , , In August 1927, I was sent to work with the Zvenyhora film crew led by director Oleksandr Dovzhenko. ...Our first meeting took place in a large room with an editing table where Oleksandr Petrovych was sitting. Lengths , . of film hung around his neck. From time to time he pulled a length of film from a reel lying on the table, studied it carefully , , ... and then wound it onto another reel. I was studying my director, watching him busy with this, seemingly, odd way of . , . . , . cutting a film... That evening the last scene wasn't going well. For quite a while we couldn't figure out the first few frames: the Grandpa falling down in front of a locomotive. The actor's movements needed to be meticulously calculated. And the engine , , . , . . , , , , . , , . , � . , , : - ? , , , . ! ?... was always coming too slowly or too quickly. 129 Finally, in the middle of rehearsing the scene, the director disappeared. We looked for Oleksandr Petrovych for quite a while. I found him by chance: on the tracks a good distance from where we were filming. I couldn't believe my eyes. This joyful, animated man, who'd filled the whole crew with hope, sat quietly, sobbing. I stood still, not knowing what had brought this on or how I could help. Somewhere down the track, the engine's furnace gave off a feint light. But here, utter dark; a man in his grief. I told him that everyone is waiting for him and the director said: "How are we going to film this scene? Earlier, in the outdoor scenes, in the forest, the Grandpa hid a large, cubic grenade into his feedbag, and now . , , . he'll reach in and take out a tiny hand grenade? How ridiculous! How can he stop a train with a hand grenade?" . , , , , . We finally finished filming at 1:00 a.m. Returning to the studio, we started filming the set there. We shot until 6 a.m. While the group was getting ready to leave for the location shots, Dovzhenko , , , . , . was inside, going strong, busy cutting the film. The location shots, the studio shots, the roughs, the edits... one after another. , 130 - , , - , , , . , . We were asleep on our feet, if only for a few minutes. ON THE SCREENING SEGEI EISENSTEIN, DIRECTOR "I'm begging you, come!" the Moscow VUFKU rep is repeating over and over into the phone. "I'm begging. ... , . - ? , - . Come and look at this thing they've sent us. Nobody can understand a thing. It's called Zvenyhora." We go into the Mirrored Hall where there will be a public screening of this incomprehensible film. . "Is it good or bad? Break it down for me", the VUFKU representative asks. ... . . . A young Ukrainian about to undergo a baptism by fire, but he'll be getting it in a good venue. [] - . I take a seat next to Pudovkin. We're stylish, but not really accomplished yet. It's less than a year since . . Battleship and Mother have come out -- they're just now making their way around the globe. - - . There's a rushed, chaotic introduction with the director. Calls himself Oleksandr Dovzhenko. ! ! And then on three screens, the front one and two mirrors, up jumps Zvenyhora. Mother of God! All kinds of . things are happening here! Here some rowboats in double exposure. . There slopping paint on the behind of a raven-black stallion. - , . Over there a frightening monk with a lantern who's either being buried or exhumed. . . People in the hall are excited. Whispering , - . You're thinking hard because the film's about to end and you've got to say "" ... , , . It's going to be a test for us "experts" too... Three screens heightening the sense of fantasy, and the film leaping - , away from us, further and further. something clever, give your impressions. back and forth. 131 , - - . Now the patriarch, a symbol of the old ways, provoked by his malicious grandson, laying dynamite on the train tracks, that - . , . ' . . harbinger of progress... His good grandson is on the train. Our boy. Our Soviet boy. Drinking tea.Catas- - - , , ' ... trophe is avoided at the last moment. And suddenly the patriarch, that symbol of the ancient past, sitting -- someone's real grandfather -- in a third-class coach, , ( ), ( ), ' , 132 ! drinking tea with his son out of a most ordinary pot... Perhaps, almost certainly, I'm faithlessly garbling the point of the scene -- may Sashko forgive me! -- but I remember . . . . . . what I was thinking. It's firmly with me, and in that I'm not mistaken! The picture resounds more and more with an irresistible charm. The charm of its peculiar manner of thought. The wondrous interweaving of reality and a profoundly native, poetic fable. Mythological, yet ripped from the present day. Comic. , , , . , ( ), [] Passionate. Like something from Gogol. And so, the next morning I sat down to pen an article; laboring under these same impressions, trying to reflect the mix of fact and fiction, I called it "Red Hoffman" but wasn't able to finish. All that is left are three strips of paper, in red ink, (at that time I wrote only in red), awestruck - , . at the bold combination of spellbindingly real and poetic imageries in this young master's first attempt. , . . � . But that would be the next morning. Right then, in the theater, the screens were filled with the black, block text of the credits and THE END. A reluctant, reddish flash of glowing electric light. And all around, a sea of eyes. . . : . . . . The screening is finished. People stood, not speaking. But it's in the air already: there's a new name in film among us. Lord of his own clan. Peer of his own genre. Master of his own identity. . . And yet our master. Ours. ' . , . Deeply rooted in the best traditions of our Soviet efforts. A master who won't be going "cap in hand" to the West. 133 , , . , . . And when the lights came up we all had the sense that we had been present at a defining moment in cinematic history. Before us was a man who had opened a new realm of motion picture. I stood there next to Pudovkin. ... . , . . . ...Thus Dovzhenko was ordained as a film director. For just a moment Diogenes' lantern dimmed and there before us stood a man. An honest, new, mature master of cinema. And an authentic, self-defined direction within Soviet cinematography. 10 1894 -- 25 1956 -- , , , ' ( -- ) . . ( ), ( ), -- ( ). , , , : "", , . 134 1911 -- . , . , , -- , 1911-1914 . Oleksandr Dovzhenko as a student, 1911-1914 , : � . -- �. 1914 , : , , , , . , ( ). 1917 -- 1923 -- , - OLEKSANDR DOVZHENKO 10 SEPTEMBER 1894 � 25 NOVEMBER 1956 Oleksandr Dovzhenko was a prominent Ukrainian film director, classical figure of world cinema, distinguished writer and playwright. He was born in the district of Viunyshche in Sosnytsia (an administrative centre in Chernihiv Governorate, Russian Empire) into the family of the farmer Petro Dovzhenko. Dovzhenko's family was of Cossack descent. His parents were illiterate (father learned to read and write only in the old age), but sent their son to a primary school (the Sosnytsia parish school) and later to a higher primary school (the Sosnytsya four-class town school). Dovzhenko received his pre-school education from his great-grandfather Taras, a former chumak (a salt seller), who traveled throughout Ukraine and was a wonderful storyteller: in future, an image of the "Grandfather", a patriarchal figure embodying Ukrainian pastoral life, will become one of the central in Dovzhenko's works. In 1911, Dovzhenko entered the Teachers' Institute in Hlukhiv, the former Hetman's capital of Ukraine. Here for the first time he acquainted himself with Ukrainian books prohibited by the Czarist regime. Russian educational system of that time, which left no room even for primary Ukrainian schools, was one of the main instruments of imperialistic cultural policy in education. As Dovzhenko later recalled, "It was forbidden to speak Ukrainian in our midst. We were trained as teachers who would implement the policy of Russification in our country". After graduation in 1914, Dovzhenko was sent to teach to Zhytomyr second higher primary school, where he taught several subjects: natural study, geography, physics, history, painting and even gymnastics. Here Dovzhenko met Varvara Krylova, whom he soon married (the marriage was officially cancelled only a few years before Dovzhenko's death). 135 Years 1917�1923 were the most controversial and secret period in Dovzhenko's biography and left a strong imprint on all his future life. In Soviet sources (as well as in Dovzhenko's autobiography written in 1939), the period from 1917 to 1919 in the life of the artist was hardly mentioned, but some light on it can be shed by the memories of Ukrainian political emigrants who knew Dovzhenko at that time. Thanks to them and to the . ( , 1939 ) 1917 1919 , , . , 1990- . 1917 , , , , 1918 . 1917 , , , -- 136 , , , ( ). , , "-" , . - (). , , , 8 1918 , ( ) . -- . , , , , , . documents of Soviet secret services declassified in the early 1990s, one can approximately reconstruct Dolzhenko's biography of this period. In the summer of 1917 wanting to be closer to the center of political events, Dovzhenko moved to Kyiv where he was enlisted to the economic faculty of Kiev Commercial Institute as an auditor. During the studies in 1918, he briefly visited the Academy of Arts newly opened by Hetman Skoropadsky. After declaration of war against Ukrainian People's Republic (UNR) by Russian Bolsheviks in December 1917, Dovzhenko, according to his sister and wife, was enrolled to the kurin (military unit) of Black Haidamaks, an undisciplined UNR Army military unit. In their ranks, according to one version, he took part in suppression of the Bolshevik uprising in the Arsenal munitions factory (these events he would later represent in the eponymous film Arsenal). It was at this time that Dovzhenko's political worldview seems to find its final form with the central idea of political independence of Ukraine in its UNR socialist interpretation, which was characteristic of most of Ukrainian intelligentsia of that time. Simultaneously, obviously, Dovzhenko was approaching the Ukrainian Party of Socialist Revolutionaries (UPSR). It was possible that together with UNR Government and military units loyal to the UNR, which retreated from Kyiv during the Bolshevik onslaught of February 8, 1918, Dovzhenko left the city. After that he taught for a month (until the Bolsheviks were overthrown) at the Sergeant's School of the UNR Army. According to another version, he stayed in Kyiv on semi-legal position. . , , 1924 Oleksandr Dovzhenko. Self Portrait, oil, 1924 137 Being a supporter of the republican system in the times of the regime of Hetman Pavlo Skoropadsky, Dovzhenko -- then a head of the student community of the Institute -- was involved, according to his own testimony, in student demonstrations against conscription into the ranks of Hetman's army, which was shot by the police. In fact, the demonstration took place on the eve of the anti-Hetman uprising on November 15, 1918, and apparently was one of its episodes. After the Directory of the UNR 15 1918 . 3- . 1919 , , . -- , . , , , , " - ". - ( , ) - . . 138 , , , . 1920-21 , . , . , 1923 . Oleksandr Dovzhenko and his wife Varvara Krylova in Berlin, 1923 1921 , . , . 1922 . , . took power, Dovzhenko joined the ranks of the 3rd Serdiuk Regiment of UNR Army. Until August 1919, he had been fighting in this regiment against the Bolsheviks, who led a successful attack on Ukraine after having denounced a previously concluded peace. Fighting on two fronts, against the Bolsheviks and the Poles, the UNR Army had to retreat to the West. Thus, Dovzhenko found himself in Zhytomyr, where he was captured by the Volhynian Cheka, placed in a concentration camp and condemned to death by shooting as "the enemy of the worker-peasant government". Soon, at the request of the poet and political functionary of the Party of Communists-Borotbists (former UPSR that accepted the Soviet regime) Vasyl Ellan-Blakytnyi, Dovzhenko was released. He then joined the Borotbists party and became head of the Party School in Zhytomyr . During the offensive of combined military units of the UNR and the Polish army on Kyiv, Dovzhenko was taken captive by the Poles, wherefrom he managed to escape after a demonstrative shooting with blanks. 139 In 1920-21 Dovzhenko, with the assistance of Borotbists, took position of the Secretary of the Kyiv Provincial Department of Education, Commissioner of the Theater named after Taras Shevchenko, and Head of the Arts Department in Kyiv. In April 1921, he was enrolled to the People's Commissariat of Foreign Affairs controlled by Borotbists, and was sent to Diplomatic mission of UkrSSR in Poland headed by a Borotbist Oleksandr Shumsky, which was established in opposition to the diplomatic missions of UNR. Officially Dovzhenko led the mission dealing with repatriation and exchange of prisoners, and soon took over as a chief of administration of the Diplomatic Mission. In early February 1922, he was transferred to the post of Secretary of the Consular Division of the Trade Mission of the USSR in Berlin. According to researcher Roman Korohodsky, Dovzhenko received directives of Ukrainian Soviet government and presumably performed special assignments including covert intelligence work. In the middle of the year 1922, Dovzhenko left office in the Trade Mission and, having received a scholarship from the USSR People's Commissariat, 1922 , , - . () ' . 1923 . , , , -, (' ), - . -. , , , . 1926 140 I -- ' -, . 1925 (), , 30 1925 () . , 1925 . Oleksandr Dovzhenko. VUFKU draft logo, 1925 , . . 1926 , -, . , . , , 1925 , , . spent about a year studying at a private art school of the expressionist professor Willie Haeckel and attended lectures in Berlin Academy of Fine Arts. During this period, Dovzhenko's first caricatures appeared in Ukrainian magazine Molot (Hammer) (USA). In the summer of 1923 he was withdrawn to Ukraine. Once in Kharkiv, then capital of the USSR, Dovzhenko worked as illustrator for the newspaper Visti VUTSVK, again under patronage of Ellan-Blakytnyi, who managed to rally young Ukrainian writers around the official party publications (the Hart association). Soon, under the pseudonym Sashko, he became a renowned caricature artist. While working in the editorial, Dovzhenko met writers Yurii Yanovsky, Mykola Bazhan, and Maik Yohansen. In 1926, he became a co-founder of the Free Academy of Proletarian Literature (VAPLITE), an association of Ukrainian modernist writers that resisted the Party's attempts to profane and ideologize literature. 141 In the middle of the year 1925, the All-Ukrainian Photo-Cinema Administration (VUFKU), which controlled Ukrainian film industry, decided to engage new Ukrainian staff in the film production process, which complied with the resolution concerning Ukrainization of the party and professional staff and Soviet institutions approved in May 30, 1925 by the Plenum of TsK KP(b)U. Thereafter Kyiv and Kharkiv writers started to engage themselves actively in the film industry. In 1926, Dovzhenko worked in a film crew of Arnold Kordium during production of the film Behind the Forest (Za lisom), and simultaneously created a comedy film scenario Vasya the Reformer (Vasya-reformator). Faust Lopatynsky, a Berezil theatre member, was appointed to direct the film. Lopatynsky never finished the film after having withdrawn from filming. Then Yurii Yanovsky, a close friend of Dovzhenko already in Kharkiv, who took position of an editor-in-chief of the VUFKU Odessa film factory in 1925, offered him to finish the film as a director, for which he got permission of the director of the film factory. Dovzhenko started to work on the film together with German cameraman Joseph Rona and famous Kyiv photographer Danylo Demutsky who tried himself in the art of cinematography, both newly arrived to the , . - - - -- "", . , ( ) , . , , , . , , . -- 142 , . . 1926 , , -- ', . (1926) Oleksandr Dovzhenko. Poster for Victor Turin's film Struggle of the Giants (1926) , . , ( ), -- , , . , : , . . . film studio. Vasia the Reformer, Dovzhenko's debut as a director and Demutsky's as a cameraman, was so "raw" that it was rejected by the management of the film factory and was not released in cinema theaters. However, namely this film and the ensuing joint work of Dovzhenko and Demutsky on Love's Berries (Kapka's Wedding) (Yahidky kokhannia [Vesillia Kapky]) became a cinematographic school for both artists who would later compose the most talented creative tandem in the history of Ukrainian cinema. For the shooting of Love's Berries, conceived as the first episode of a situation comedy, Dovzhenko invited his friend actor Dmytro Kapka with whom he worked together in the Diplomatic Mission of the USSR in Warsaw. The film, lengthy and barely dynamic, was saved by a radical reedit. Love's Berries, a vertiginous adventure comedy in the spirit of the early Chaplin's short films, didn't have a great success, but was nearly the first attempt in the genre of comedy films in Ukrainian cinema. At this time Dovzhenko saw himself only as a comedy director. 143 In late 1926, director of the Odessa film factory Pavlo Nechesa, disappointed by Dovzhenko's debuts, gave him the last chance to prove his professional aptitude: to make a thriller The Diplomatic Pouch (Sumka dypkuryera), the plot of which was to be close to Dovzhenko's own diplomatic experience in the past. The script written by a talented screenwriter Moisei Zats (in collaboration with Borys Sharansky), later the author of subtle psychological dramas, was based on a spy story very popular in the times of NEP. Filmed with the camera of pre-revolutionary cameraman Mykola Kozlovsky, the movie was full of interesting camera angles and night scenes: the expressionistic figurative language of the film attached great importance to shadows and silhouettes to reinforce viewer's anxiety. The film was shot at the level of the best Soviet adventure films of the time. Dovzhenko recognized this picture as his first full-fledged movie. . (1926) Oleksandr Dovzhenko. Poster for Faust Lopatynsky's film Blue Package (1926) The real glory came to Dovzhenko as a director in 1928 when Kyiv and Moscow cinema theaters showed the film Zvenyhora, a mythological - 1928 - ��, . , . , ( ), . , ( -- ), . , . : 144 . , , : , - (1926). , 1926 . Announcement of Oleksandr Dovzhenko's film Vasia the Reformer (1926). Kino magazine, 1926 , , . - , , , , , , . ( " ") , . , , . "fresco" comprising two thousand years of Ukrainian history. The film did not have a single narrative and consisted of ten independent short stories where historical events were intertwined with the legends and fictitious narratives. Events of Zvenyhora develop in the mythological chronotope, heroes acquire legendary traits (mythological Grandfather), and historical narratives of the past schematically support the teleology of the proletarian revolution. With this in mind, as well as considering the perfect cinematographer's solution for many scenes (film's director of photography was Borys Zavelev), the film could hardly be regarded as propaganda. Dovzhenko was concerned with legitimization of Ukrainian history through communist ideology, but in a kaleidoscope of events the ideological aspect of the film's plot was lost. Instead, the historiosophical dimension of the work came to the fore: the national was there presented as metaphysical. Zvenyhora became a kind of summary of the first phase of Ukrainization, which had been marked by the advent of the first Ukrainian modernist literary novels, avant-garde theater and the final formalization of the avant-garde painting: romanticization of the past, the heroic Civil War and national revival were the main themes of theater and literature as well, which at the same time also exhibited rejection of traditional narrative and a drive to fragmentation. Parallels between film and literature could be explained by the fact that the scriptwriter was a Kharkiv intellectual writer, an adventure literature theorist Maik Yohansen who skillfully handled the legend told by Yurko Tiutiunnyk, former UNR Army General, Kharkiv literary idol. According to Dovzhenko's official and later version (when Yohansen and Tiutiunnyk had already been shot as "enemies of the people"), he radically reworked the original material rejected by the Screenplay Commission. This version, however, was denied by Yohansen's widow, who claimed that the original script was cinematized film almost literally. Poster for Oleksandr Dovzhenko's film Love Berries. Kino magazine, 1926 (1926). , 1926 . 145 Already first reviewers characterized the film as the first national cinema work: Ukrainian intellectual milieu greeted Zvenyhora enthusiastically; it was obvious that the film advanced Ukrainian cinema to the world : -- , , . , : , , , , " ", . , , , . , . 146 -- , . , , -- ( , ) . , , . (1927) Stenberg brothers. Poster for Oleksandr Dovzhenko's film Zvenyhora (1927). , - . , : - . . -- , " ", -- , - . , , level, while the film's avant-garde language remained inaccessible to the audience. However, assessments of the political aspect of the film sharply parted: it is known that many Ukrainian writers turned away from Dovzhenko, believing that he ridiculed Ukrainian independence to "curry favor with Moscow", and thus betrayed its own principles. It was Dovzhenko's creating and updating unique Ukrainian mythological system, a national utopia subjected to national world outlook, that was perceived by the Bolsheviks as a threat to the existence of the communist utopia. That was why the film was soon withdrawn from the cinemas, and Dovzhenko was accused of chauvinism. Immediately after Zvenyhora came out, Dovzhenko began to shoot a new film, a historical epic Arsenal, in which the action was now fully focused on the events of the Civil War. Unlike Zvenyhora where Dovzhenko operated with thousands of years, the time in Arsenal was condensed around one event: the suppression of Bolshevik uprising in the Arsenal munitions factory by the soldiers of Central Rada (including, according to some versions, Dovzhenko himself). The director of photography of the film was Danylo Demutsky, who created slim, ascetic and at the same time dynamic frames, making the most use of mechanics of light and shadow and using the most unexpected camera angles. If the expressive language of Arsenal was distinctly expressionistic,the artistic decision was to close to constructivism: the film was designed by a talented constructivist artist Volodymyr Miuller. V. Devyatnin. Oleksandr Dovzhenko's Cartoon Who is heavier? Kino magazine, 1929 . . ? , 1929 . 147 By rhythmically editing scenes, Dovzhenko gradually strengthened the film's action from meditative resignation to the triumphant dramatism. Some expressionistic scenes -- like the train crash, death by suffocation of a soldier from "laughing gas", shooting of the protagonist Bolshevik . , , , , , , . , , , , 1920- , , - , , . , 148 , -- : , "" , -- . -- , 1927 . Kino magazine cover, 1927 -- 1929 . , . : , . , , . -- -- . ', , . Tymish -- became textbook scenes of the world cinema. In the film with a clear propagandistic intention,a perfect artistic solution actually neutralized the ideological component. Scathing, historically thorough representation of the revolutionary events and ruthless irony over UNR leadership made researchers of Arsenal suggest that Dovzhenko did not praise Bolshevism in this film atoning previous accusations of nationalism, but took revenge against ridiculous leaders of UNR who failed to preserve independence due to quarrels between them. On the other hand, it was also possible that, in view of the successes of Ukrainization policy the Bolsheviks were forced to declare to gain the loyalty of local people, until the end of 1920s, Dovzhenko quite sincerely accepted the communist ideology combining it with cultural nationalism like most of the new representatives of Ukrainian intelligentsia which supported the UNR Social Democracy a while ago. Arsenal was a kind of sequel of Zvenyhora, more precisely, a deployment of one of its main themes, that of th Revolution: the Bolshevik Tymish, depicted rather schematically in Zvenyhora in contrast to juicy and lively anti-heros the Grandfather and the "Petliurite" (nationalist) Pavlo, was developed in the Arsenal to a symbol, a godlike and immortal proletarian. 149 The last part of Dovzhenko's epic trilogy, Earth, was filmed in summer and autumn, 1929, with Danylo Demutsky as a director of photography. The film was dedicated to the theme of collectivization proclaimed recently by the Party. Dovzhenko approached the subject with a philosophical vision: he transformed the land into a metaphor of the national universe, the center and the meaning of existence of the Ukrainian peasant. Patriarchal Ukrainian village, tranquility of which is disrupted by a tractor, exists outside of historical time and resembles an earthly paradise. In this harmonious universe, farmers lead happy timeless pastoral existence and even death here -- easy and grateful -- is devoid of tragedy and is merely the continuation of life. Dissolution of this organic and mystical connection, which the collectivization entails, violates eternal order of the universe. Stenberg brothers. Poster for Oleksandr Dovzhenko's film Arsenal (1929) . (1929) , , , , , , . -- -- , . , - , : "" , , , , . . , , . 150 , , . , , , (1929) Amvrosii Buchma as a German soldier in Oleksandr Dovzhenko's film Arsenal (1929) , " ", , . " " , 1920, . 32- 8 1930 , ' . , , , . . Pictures of exuberant nature, fertile land, and abundant harvests brilliantly filmed by Danylo Demutsky subverted the very idea of collectivization, which Dovzhenko tried to justify rather than to substantiate. The protagonist of the film, Young Communist Vasyl, belongs to this world in so far as he is linked with it by ties of earthly human love. Having broken the traditional way of the village, he doesn't become a Prometheus, the redeemer of the land, but rather its rapist: "having smeared" the land by a mechanical loin of a tractor, Vasyl destroys the power of the earth over man and finally subjugates it, having paid for the freedom sought by no one apart from him with his own life. From inside of the melancholic peasant bucolic, in which elemental forces of life seem subdued by a silent agreement with nature, Vasyl's acts look absurd. 151 Poetics of the Earth was formed not only by metaphorical figurative language of Dovzhenko, but also by the original camera work of Demutsky who can be rightfully called a co-author of the film. The picture abounds in meditative close-ups, morning light, the endless sky that serves as a background for many pastoral scenes; and in the scene of "Vasyl's dance" shot in a golden haze a melody of folk songs can be heard. Poetic pantheism of Earth is philosophically consonant with "romantic vitaism" of Khvyliovyi, an ideologist of Ukrainian cultural revival of the 1920s, with whom Dovzhenko felt an emotional and intellectual kinship. Oleksandr Dovzhenko and Deputy Chairman of VUFKU Zynovii Svidersky, 1927 , 1927 . After the necessary outtakes and 32 official and private screenings, in April 8, 1930 Earth was screened in Kyiv cinemas, and only nine days after that the film was banned because of allegations of "biologism" and naturalism. The film, however, had tremendous success in Europe, instantly : , . " " (" ", , ) . , , , . 1930 , , . - 152 ( ), , . . " ", (1930) Filming of Oleksandr Dovzhenko's Earth (1930) . , , " ". -- , , : , , : , . -- -- , . : , , putting Dovzhenko in a number of prominent directors of his time. Earth became the crowning achievement of Ukrainian cinema. The withering criticism of Earth was a huge psychological blow to Dovzhenko: he fell into a depression, which since then accompanied him almost all his life. Given the accusations of "bourgeois nationalism" and first Stalin's purges of Ukrainian patriotic intelligentsia ("the Ukraine Liberation Society (SVU) case", destruction of Ukrainian cultural institutions, collapse of Ukrainization), Dovzhenko started worrying for his life. The fear that embraced him after Khvylovy's suicide, which became a symbol of destruction of an entire art generation, occasionally resulted in persecution mania. In the summer of 1930, Dovzhenko, together with Demutsky and Yulia Solntseva, with whom he lived in a civil marriage, were staying in Europe. In Paris he met French avant-garde filmmaker Eugene Deslaw (Yevhen Slabchenko), a Ukrainian political emigrant, who invited him to stay in Europe. Dovzhenko rejected his proposal. 153 After returning to Ukraine, he found himself in the center of the campaign "against bourgeois nationalism", under the label of which most of the Ukrainian intelligentsia has been destroyed. To prevent repressions against himself, Dovzhenko started making the film Ivan dedicated to Stalin's newly proclaimed "forced industrialization". The film focused on the large-scale construction of Dnieper Hydroelectric Station, a symbol of Stalin's megalomania, which turned out to be a monstrous profanation: the construction process, advertised as high-tech and innovative, in practice was carried out in artisanal way: thousands of young communists battered icy concrete with their bare feet to prevent it from freezing. Ivan, Dovzhenko's first sound film, was a pure agitprop where glorification of proletarian labor reaches grotesque (1930). Filming of Oleksandr Dovzhenko's Earth (1930). Photo by Borys Kosarev , . , : . , , , , , , ( ' ). . : "". 1933 � �. 154 , . 1934 . " " : , , i. "" : , . , 1929 . Oleksandr Dovzhenko's Cartoon. Kino Magazine, 1929 "". , , ( ), : -. 1935 , 1937 -- . , , , , . proportions. However, the film was not completely devoid of artistic value: constructivist sketches of the construction process, yrical scenes of nature created by Danylo Demutsky still resembled Dovzhenko's poetic manner. A big blow to Dovzhenko was Demutsky's arrest at the height of shooting of the film which was finished by a young cameraman Yurii Yekelchyk. Realizing that the repressive noose was being tightened around him, stricken with fear for his life, shocked by pictures of the Holodomor perpetrated by the Bolsheviks, Dovzhenko ends the film with an obvious effort, entrusting the shooting of many scenes to Yulia Solntseva (a number of researchers associates generally low artistic level of the film namely with her participation). Ivan was greeted with enthusiasm in the Venice Film Festival. However, success did not save Dovzhenko from possible repressions: in the reports of the GPU agents he appeared as a persistent "nationalist". Therefore, in 1933, Dovzhenko wrote a letter to Stalin asking "to protect him and help him in his artistic development". With a personal call Stalin canceled the arrest warrant for Dovzhenko which was already prepared by the Kyiv GPU. In 1934, Dovzhenko was summoned to Moscow. Thus, a "Moscow captivity" of the artist began: as an influential leader of Ukrainian intelligentsia able to shape public opinion, he was forbidden to live and to visit Ukraine. Stalin's "favor" turned out to be a real torture: he often sent for Dovzhenko to accompany him during his night walks where which Stalin gave Dovzhenko artistic "recommendations". Convinced that he knew Stalin personally, Dovzhenko did not believe (at least before the war) that the former was an ideologue and leader of large-scale repression: his attitude to Stalin remained naive and enthusiastic. . . -- . , 1927 . B. Krylov. Oleksandr Dovzhenko's Cartoon Zvenyhora is my Party Membership Card. Kino Magazine, 1927 155 It was at Stalin's commission that, in 1935, Dovzhenko made an anti-spy utopia Aerograd, and in 1937, a propaganda film Schors on the subject of history of the Civil War. If in Aerograd Dovzhenko, enchanted by majestic beauty of Eastern Siberia, was still able to enter into resonance with local nature and shoot more penetrating and inspired scenes against the backdrop of powerful relic forests, Shchors was for him totally alien material. -- , 1919 , - , . , , , . , . 1938 , , . . 156 , -- , , . ( ) , , : , , (1932) Still from Oleksandr Dovzhenko's film Ivan (1932) , , -- , , . . ( 31 . ) , . - , , , , , Mykola Shchors, then little known Red Army division commander who led the vanguard of the Bolshevik troops in 1919 in Kyiv, was to become, according to Stalin's plan, a propaganda hero, part of the communist quasi-religious pantheon. Overcoming the resistance of the material, ignoring and sometimes simply falsifying historical facts, Dovzhenko was making that film nearly two years. Secret service reports state that he was depressed and could simply scamp the filming process where he could. In 1938, Mykola Bazhan and Dovzhenko got in a car accident caused by a filed steer axle, which some researchers characterize as a GPU attempt on Dovzhenko's life. This story was even more demoralizing for the director. Remaking some scenes of the film at Stalin's demand several times, he included much Ukrainian material: folk songs, epic songs. 157 Even so, the protagonist of the film, Shchors (Yevgeni Samoilov), appears to be artificial, one-dimensional, ideologically sinless: he does not speak but delivers slogans, speeches, proclamations, and an anti-hero Bozhenko is dramatically convincing, vivid type of smart, courageous and principled Ukrainian guy. Soon Dovzhenko was blamed for such romanticization of Bozhenko. By making Shchors (in the first week of the screening it gathered 31 million viewers), Dovzhenko actually secured his immunity, although paying for it with his own principles. (1932). , 1930. Filming of Oleksandr Dovzhenko's Ivan (1932). Shooting of Dniprobud After the Soviet-German partition of Poland and the Soviet occupation of Western Ukraine, Dovzhenko made newsreel Liberation (Vyzvolennia), where, however, the life in Galicia was shown so civilized and full-blooded, that film was soon withdrawn from the movie theatres. . , , , . , , , " ", . , , , , "": , , , , , , , . 158 ( 600 ). 1943 (1935) Still from Oleksandr Dovzhenko's film Aerograd (1935) , . . , 1941-1943 . ' 1943 . , , , . , , . -- Since the war began, Dovzhenko had been evacuated to the east, but, unable to stay in the hinterland, he went to the front as a correspondent of the newspaper Krasnaya Zvezda. Here he witnessed terrible defeatism, cynicism and ineffectiveness of nomenclature, brutality of Soviet troops, who used to retreat tactics of "scorched earth", the suffering of innocent people. Experiencing sharply the tragedy of Ukraine, plundered by both totalitarian regimes, he rejected the Stalin's thesis that all remained in the rear were "traitors": Dovzhenko directed his overt hatred to the communist leadership of Ukraine mired in lies and fraud, who were not able to rationally organize the economy and the defense and were interested in fostering a nation of slaves, deprived of its own language, history and principles of honor. By this politics, Dovzhenko justified the reluctance of Ukrainians to fight for Stalin in the first two years of war (for the first six months of the war, about 600 thousand soldiers yielded themselves prisoners to Germans in the Ukrainian territory). 159 During 1943 Dovzhenko was making the documentary Battle for Soviet Ukraine (Bytva za nashu Radyansku Ukrayinu) where he included frames from German newsreels, which nobody had done before him. The collapse of the Soviet system should have convinced Dovzhenko of immortality of the Ukrainian national idea. He laid out his thoughts in no uncertain terms in the script for Ukraine in Fire (Ukrayina v vohni) written in 1941-1943. Excerpts from the script appeared in the press in September 1943 and shocked Stalin. Soon Dovzhenko was summoned to the Kremlin, where Stalin blamed Ukraine in Fire for nationalism, defeatism, anti-Soviet stance etc in the presence of Ukrainian writers and political figures. Dovzhenko's position terrified Stalin not so much because of possible consequences for him than because it was destroying his image as a good protector, patron, just and wise ruler. But above all, he was afflicted by silence of fellow writers and party functionaries (including Khrushchev) present at the meeting, who were familiar with the content of the work and praised it in private conversations. After the conversation with Stalin, Dovzhenko's world , 1929 . Oleksandr Dovzhenko, 1929 (, ), . : , , , , , , - , : " , , , , . , , , , , , -- ? , , , ?". 160 : ( ) , . , "". 1946 - . , , . , , . : . -- , 1949 , , , . 1951 !, ( -- - crumbled: groveling, dirty tricks, servility, cowardice demonstrated by cultural and political elite of Ukraine in the presence of the tyrant lead to destruction of his ideals because Stalin was for Dovzhenko a paternalistic figure with whom he mentally checked his actions. Dovzhenko wrote: "My comrade Stalin, were you a god, even then I would not believe you that I am a nationalist, who should be besmirched and treated roughly. When there is no profound hatred and there is neither contempt nor malevolence toward any nation in the world, or to its fate, or happiness, or dignity, or well-being, can it be true that love for one's own nation should be called nationalism? Or is there nationalism in absence of connivance to the stupidity of bureaucrats, cold managers, or in artist's inability to hold back his tears when his people suffer?" Dovzhenko fell from grace and found himself in full isolation: he was fired from the position of artistic director of Kyiv Film Studios (which he had occupied formally) and transferred to Central Newsreel Studios; he was forbidden to publish his literary works. The scandal with Ukraine in Fire caused massive attack of Stalinist regime against Ukrainian intelligentsia, many of whom were accused of "nationalism". In 1946, Stalin commissioned Dovzhenko to produce a color film about Ivan Michurin, the Russian biologist and plant breeder. Dovzhenko, for whom the theme of nature remained the leading one, wrote a script Life in Blossom with enthusiasm. However, having started shooting, he was confronted with real censorship from Mosfilm management. The conception of Life in Blossom, according to Dovzhenko himself, was cruelly distorted: lyrical hymn of nature was transformed into an ideological biographical opus. But in the film released in early 1949, one could still feel a truly Dovzhenko lyrical tone, pantheistic attitude, autobiographical allusions. (1930). : , , , , - During the filming of Earth (1930). Left to right: actor Petro Masokha, assistant director Lazar Bodyk, director Oleksandr Dovzhenko, cinematographer Danylo Demutsky, protagonist Semen Svashenko. 161 ) . 1996 , . , . ( , ' , ), 1950- (1955), 1942 . , , -- . 20 . 162 , -- -- , -- . , . 25 1956 . . (1930) Stenberg brothers. Poster for Oleksandr Dovzhenko's film Earth (1930) -- -- -- . , , . 1930- . 1917-1920 , , . In 1951, Dovzhenko began making a propaganda film Farewell, America! which was violently interrupted (literally, by turning off electricity at the film set) by the management of the Studios. The film never came out and it had been considered lost until 1996, when the footage was discovered in Russian State Film Fund. Absolutely demoralized and deprived of opportunities to make films, Dovzhenko found distraction in writing. Already during the war, he wrote a number of antiwar novels and scripts (The Night before the Battle, Tale of Fiery Years, Descendants of the Cossacks), and, in 1950, he continued writing an autobiographical novel The Bewitched Desna (Zacharovana Desna, 1955), started back in 1942. Lyrical, witty, full of folk humor and worldly wisdom, the story opened to the world the unknown Dovzhenko: a refined writer with his own unique style. The Bewitched Desna became a classical work of Ukrainian literature and one of the most famous Ukrainian prose works of the 20th century. 163 After Stalin's death Dovzhenko finally got an opportunity to make a film, the script of which he had been considering for many years, Poem About the Sea, dedicated to construction of Kakhovka reservoir which had to absorb the historical center of the Ukrainian Cossacks: Dnipro rapids. Due to a business trip to prepare the filming, he finally got to Ukraine and wanted to stay here, addressing the respective letter to the leadership of UkrSSR. But in November 25, 1956, he died at his dacha near Moscow. . , 1929 . Oleksandr Dovzhenko, Moscow, 1929 Dovzhenko was perhaps the most important -- and yet the most controversial -- figure in Ukrainian culture of the Soviet era. Multilaterally gifted, he was a type of Renaissance artist able to realize his creative genius in various art forms. After the death of Khvyliovyi in 1930, Dovzhenko became a figure expressing values of the entire generation of Ukrainian intellectuals. Being a true supporter of Ukrainian independence in the years 19171920, he was forced to accept communist ideology externally imposed "" ( ). , , . , , . : , : -- -- , . , , 164 , - -, , , . , , , , , , , - - , : , , , : " , , ! , . ' , . , . ' , , , , , , , , , ". on Ukraine and served it just as sincerely believing that it was possible to establish its Ukrainian national variant. All his life Dovzhenko was under the watchful eye of secret services as a stubborn "nationalist" (in his personal file in the GPU, he was mentioned under the nickname of Zaporozhets [Cossack]). With anti-Bolshevik pages in his biography and under the impression of destruction of his closest friends and most prominent figures of Ukrainian culture, he sought to prove tooth and nail his loyalty to the regime, often resorting to explicit propaganda topics. At the same time, he experienced painfully consolidation of the dogmatic socialist realism in the USSR. Creation of the social realistic canon owed largely to him. Dovzhenko developed his own philosophical system: in his work he developed a political and cultural project of Ukraine far from dogmatic communism: in this -- conventionally avant-garde -- project, futurism and traditionalism, conservatism and utopianism combined with each other paradoxically. The ability to think mythologically, atemporally, embracing entire historical epochs and identifying himself with the people makes Dovzhenko a figure entirely matching one of the most important mental constructs of modern Ukrainian culture, the Poet-Prophet, whom, apparently, he felt himself to be. 165 Aware of his genius hindered to fully open itself, Dovzhenko, -- paradoxical and sentimental, naive and visionary, depressed and inspired, loving and despising, a European intellectual and a simple peasant, -- talked about his way in terms of messianism in the latter days of life: he pondered over the fate of his people, acutely experiencing its tragedy, and accepted his own life as a sacrifice, which sooner or later would redeem the Ukrainian sin of self-abandonment: "Might you be blessed, my people tender and kind! Be strong and patient. Remember me, a martyr. Do not despise my tears when I wept over your fate in the terrible times of the German captivity. And if my small name is trodden down before you, if impure, evil men want that, do not reject me and let me die in my land that gave me the bread and the heart, love, and thy customs, and the joy of creativity, and labor and great sorrow, and suffering". OLEKSANDR DOVZHENKO . . , , . , , - . . , , ... ', . . , . . . 166 , , . , , . . . , . , , 1920- . Oleksandr Dovzhenko, late 1920s - . . . ', . , . , . , . . , , - . - . . , ! ABOUT DIRECTOR OLEKSANDR DOVZHENKO I don't always like my pictures very much. Sometimes I don't like them at all. I feel bad for them, like awkward children, none too good-looking, but mine. It seems to me that a truly good, well-made picture is still out there in front of me, waiting. I've written a few screenplays and made a few films. For a variety of complex reasons and circumstances I've made fewer pictures than I ought to have. Those I have made I've made sincerely, out of love. They contain the core of my life. I come into filming unprepared, not needing it. Things clear up once the screenplay is started. I just repeat the process. I could shoot when it suited me, with actors who suited me, never needing to hunt down the big names. I made what I wanted to make: whatever I was thinking about. I was, and am, in reality, an utterly independent artist working in my medium. 167 I'm never indifferent to the material. One needs to know how to love and hate with force; anything else and the work turns out dry, dogmatic. I work with actors, more significantly, with folks from the crowd. The material demands it. There's no need to fear working with amateurs; just remember that each person is perfectly capable of playing himself on film. , 1927 . Kino magazine cover, 1927 SERGEI EISENSTEIN, RUSSIAN FILM-DIRECTOR Dovzhenko is like a gunshot to the face. Taking aim with the content and firing at will, utterly free of form. He is unabashedly alone in this. The rest of us are like camels in a caravan loping along under this incredible weight of "form". To live and work near Dovzhenko is to live near dynamite. It was raw luck that Dovzhenko picked up a camera instead of an axe or a machine-gun. His films open fire; they attack without hesitation. , , ... , . . . , - : , , . ' � - - . , 168 , (1925-1933) ' , , , . , . , 1930 . Kino magazine cover, 1930 , , . . , , , ... . , , . MAKSYM RYLSKY, POET OF THE EXECUTED RENAISSANCE His whole life he was seeking; never content with what he'd found. Dovzhenko was a natural innovator; discovering new horizons in art as in life. An art and a life which were inseparable. Dovzhenko was an artist of a profound scope, a thinker on a grand scale. YAKIV SAVCHENKO, POET OF THE EXECUTED RENAISSANCE AND ART CRITIC Before Dovzhenko, Ukrainian cinema lacked a coherent vision in regard to style, genre, method, and so on. As an extension of that, there was no ideologically sound perspective in a concretely cinematographic sense. MYKOLA BAZHAN, POET OF THE EXECUTED RENAISSANCE AND EDITOR OF KINO MAGAZINE (1925-1933) In his cinematic creations, Dovzhenko brilliantly wove a refined and complex artistry: combining rhythmic music, a writer's powers of observation, and the wit and pathos of the essayist, and imbuing it all with poetic force to create movingly warm, lyrical images. He grabbed up all of art, all its means and weapons, and incorporated it into his cinematography. 169 YOSIP SHPINEL, ART DIRECTOR Dovzhenko's work was inspired, ingenious. There's no doubt that he was influenced by expressionist cinema and its quest for vivid means of on-screen articulation. , 1929 . Kino magazine cover, 1929 PETRO MASOKHA, ACTOR IN THE DOVZHENKO FILMS EARTH AND IVAN Dovzhenko was meticulous; concerned with the most seemingly insignificant details in character expression and type. He was among the first to shoot actors without make-up and other usual theatrical props. , , , , . . , ' , , , - , , : , , . , . , , , , , - , . . . , 170 , . , . , , , , . , , , . , ... ... � . ' , , ... , , . , ... , . SEMEN SVASHENKO, ACTOR IN THE DOVZHENKO FILMS ZVENYHORA, ARSENAL, AND EARTH Dovzhenko's greatness lay in his ability to insinuate his own views into an actor's soul. While we were working he wouldn't relax his attention on the actor's creative state for even a minute. GRIGORI KOZINTSEV, RUSSIAN FILM DIRECTOR He joined the culture of contemporary expression, became its eyes; he raised up to a new art form -- with everything he examined -- folk perspectives on nature and life...that of people, of forests, and rivers. This was no mere stylization but the real-life view of a country boy; a Ukrainian paganism. Dovzhenko repaid the nation with its own wisdom, perceptivity, clarity, humor; its lethal deviousness and grandiloquence -- everything that he had borrowed from it. The everyday manifests in the eternal; Dovzhenko showed us this. He became the artist who showed the contemporary side of the eternal on screen. And he did it all so effortlessly; unafraid to confront matters critical. 171 VICTOR SHKLOVSKY, RUSSIAN AUTHOR, SCREENWRITER, AND LITERARY CRITIC A national Ukrainian artist, he revealed a new order to the world in the expression of the commonplace. He knew how, like a raft borne by the Dnipro, turned by the fast-moving water, to open a world of yet unseen dimension. SERGEI PARAJANOV, FILM DIRECTOR The steppe. On the steppe stands a man with an enormous bouquet of wildflowers. The man is Dovzhenko. This is how I'll remember him: the poet, the artist, the warrior... ARTHUR KNIGHT, AMERICAN FILM CRITIC The films of Oleksandr Dovzhenko are so rich and deep that they bear ready comparison with poetry. The more you surrender to them, the more you receive from them. These are a thrilling ode to life, earth, and a new world. () I 16 1896 -- 27 1937 , , , , . ' . , -- . ( , , ), . , -172 . , 1917 , . . , 1920- . Maik Yohansen, late 1920s . , -- '. , , , , , (1929), , . MAIK (MYKHAILO) YOHANSEN SCRIPTWRITER 16 OCTOBER 1896 � 27 OCTOBER 1937 Poet, philologist, translator, co-scriptwriter of the film Zvenyhora by Oleksandr Dovzhenko, one of the key figures of the so-called Executed Renaissance. Mykhailo Yohansen was born in Kharkiv to the family of Hervasii Yohansen and Hanna Kramarevska. His father was a Baltic German and his mother descended from a family of Starobilsk Cossacks. Subsequently, his uncommonly sounding last name Yohansen caused a lot of romantic mystifications concerning his origin (supposedly Swedish, Danish, Norwegian etc.) not without support of the poet himself. Unlike many other figures of Ukrainian culture of the time, Mykhailo Yohansen was born as an urban resident while most of his fellow writers came from the province. After leaving Russian classical gymnasium, Yohansen entered the Kharkiv University and brilliantly graduated from it in 1917 obtaining a degree of Master of Philology. He knew half a dozen classic and modern European languages. He began to speak and write Ukrainian after the Revolution. In 1921 he published his poetry for the first time in Kharkiv-based magazine Shliakhy mystetstva (Roads of Art), and simultaneously his first book of collected poems was published under the title D'hori (Aloft). As a founder and theorist of the action-adventure genre in Ukrainian literature, Maik Yohansen successfully avoided or carried to the point of absurdity ideological stamps in his prose works while widely using neobaroque travesty codes, irony, multilevel allusions and codes, notable in his best experimental work Podorozh uchenoho doktora Leonardo i yoho maibutnioyi kokhanky prekrasnoyi Alchesty u Slobozhansku Shvaitsariyu (A Trip Of The Scholar Dr. Leonardo And His Future Mistress Beautiful Alchesta In Slobozhanshchyna Switzerland, 1929), which had a tremendous impact not only on his contemporaries but also on the first post-Soviet generation of Ukrainian writers. 173 Maik Yohansen left his mark as a writer but as a young man he considered himself a primarily linguistic scholar as evidenced in particular by , -, : " 1921 , .. ,-- - . , , . ! . , ( , , !), , , , . : , 174 , , -- !" , . , , . , , , . , " ". " ". , ' . -- . . - . , Yeremiya Ayzenshtok: "Once in the summer or early fall of 1921, I was fortunate to acquire a large pile of books on linguistics, including two large volumes of lithographed lectures of O.O. Shakhmatov at St. Petersburg University on the history of the Russian language, an invaluable acquisition for any philologist. It so happened that I immediately made boast of my purchase before Yohansen, whom I met on the street. The effect was amazing! Yohansen literally trembled when hearing about the lectures of Shakhmatov. With great enthusiasm he set about to convince me that these lectures were totally unnecessary luxury for me (as I was indeed a literary historian!), that I should limit my appetite for books immediately on the started of my collecting enterprise and that I should not disperse my attention seeking polyhistory so harmful those days. The natural conclusion from all this was following: the two volumes of Shakhmatov's lectures should be immediately given to my interlocutor for whom they were daily bread and not even the air, not life-giving oxygen, but ozone!" 175 Contemporaries remembered Maik Yohansen on the whole as a very passionate and quick-tempered man. He could, for example, beat vessels during a small quarrel with his wife. When Yohansen won from Vladimir Mayakovsky at billiards, he forced him, the already recognized Patriarch of Russian poetry, to crawl under the billiard table. Doing that Mayakovsky stuck under the low table and at that time Yohansen was running around him with "wild dancing and shouting". After this incident Yohansen got playful title of "Billiard King of Soviet literature". Given the temper of Yohansen, it is very easy to understand why he eventually withdrew his name from the credits of Zvenyhora. , 1920- . Maik Yohansen, late 1920s The author of the original version of the script for the first mature movie of Oleksandr Dovzhenko was Yurii Tiutiunnyk, former major general of the UNR army who worked as ordinary scriptwriter at VUFKU. For the basis of the plot, Tiutiunnyk took folk tales of his native village in Cherkasy region. However, in the original version Zvenyhora was a pure adventure story with some elements of melodrama. VUFKU Literary -- . , , , -- . , -- . , , " ", " ". "" . . , , . , ' 176 , . . : " . ', . , 1920- . Vasyl Krychevsky. Maik Yohansen's portrait, late 1920s � �, ." , ' , -- , . , , , - , , . . , " , � �". Commission accepted the film but the script was sent for adaptation to Maik Yohansen. Firstly, he removed from the text all melodramatic moments, then expanded the historical background, and finally transformed the image of the treasure into a symbol. Yohansen admitted that his attitude to work on Zvenyhora was not too serious, he perceived it as another game. In the process of editing he was guided by Dovzhenko's style and he said to Tiutiunnyk that "writing should be more romantic" in order to "excite Sashko (i.e. Dovzhenko)". However, "Sashko" did not like Yohansen's version of the script. He believed it to be too fantastic and ideologically wrong. Maik Yohansen considered himself to be a literary professional of the highest sort; therefore, he perceived the director's interference to the complete the scenario as a personal insult. He officially gave up authorship, made his name removed from the film credits and since then cut the connexion with Dovzhenko forever. In the future, they deliberately avoided each other. 177 Oleksandr Dovzhenko testified later: "The scenario had too much devilry and explicitly nationalistic tendencies. So I reworked it for ninety per cent resulting in the fact that the authors deliberately `withdrew their names', and this was the beginning of my divergence with Kharkiv writers". Note that Dovzhenko wrote these words in 1939 fearing for his life: both Yohansen and Tiutiunnyk had by that time been executed namely for nationalism. Still, Maik Yohansen's widow, who managed to leave the Soviet Union during the war, wrote in her memoirs that the only true author of Zvenyhora was Yohansen, who treated his creative talent so carelessly that he gladly shared his ideas with fellow artists. In her opinion, Dovzhenko cinematized Yohansen's script almost verbatim. But despite Dolzhenko's rewriting, Soviet criticism still branded Zvenyhora "a picture with grave political mistakes, which preached the idea of `bourgeois Ukrainian nation'". Vasyl Krychevsky. Maik Yohansen's Portrait, late 1920s . , 1920- . , . , -- ( ). '. . - . -- . . , 15 33- . , ' , , , " ". 178 . 18 , ( ). , . , , " ". , , ", -- , . ... , ". 26 . . ' . For Yohansen, Zvenyhora was the first screenplay attempt but not the last. Later he wrote at least one screenplay, Marevo zemli (The Haze of Land) (the text has not survived). In the following years he also collaborated with Kharkiv theatres and wrote for them quite cinema looking plays. Yohansen's further destiny was typical for representatives of his generation. He participated actively in a variety of literary and journalistic media-discussions of those times. He became one of the founders and most active participants of VAPLITE, the Free Academy of Proletarian Literature. After its defeat he fell from grace. Maik Yohansen was one of the people invited by Mykola Khvyliovyi on May 15, 1933, half an hour before his protest suicide. In mid-thirties Yohansen, summarizing fifteen years of his literary activity, claimed that he had already said everything that he could in poetry, that poetry was for him a surpassed life stage and "a fad of youth". Later, he supposedly planned to focus on prose and prepared for writing a big urban novel about the life of Kharkiv. On September 18th, he was arrested in his apartment, in the so-called House of Writers in Kharkiv (two-thirds of the inhabitants of the house were physically destroyed by the NKVD in several years). 179 Unlike many victims of Soviet terror, Mykhailo Yohansen has not been broken down during interrogations. As declassified minutes of interrogation showed, he never pleaded guilty of creating an anti-Soviet organization that was allegedly preparing an armed uprising against the "Rule of Soviets". Moreover, he did not reject his views and confirmed that in private conversations he "said that Ostap Vyshnia was no terrorist, that innocent people were being jailed... he argued that the arrests of Ukrainian writers were the result of confusion and powerlessness of the Party leaders and Soviet power". On October 26 in Kiev, Military Collegium of the Supreme Court of the USSR condemned Maik Yohansen to death with full forfeiture of property. On the very next day the sentence was executed. A symbolic grave of Maik Yohansen is in Kyiv Lukyanivsky cemetery. () I 20 1891 � 20 1930 , - 1917-1921 , - , - , . . - . 1913 , . � - , . 1915 180 . 32- , . 1917 , . 5-10 (18-23 ) , , 1929 . ', , . , 1917 . 1918 20 . 8- , , 2- , , 8- . YURII TIUTIUNNYK (YURTYK) SCRIPTWRITER 20 APRIL 1891 - 20 OCTOBER 1930 A prominent Ukrainian military officer and political activist: one of the leaders of the national liberation movement of 1917-1921 which aspired for Ukrainian independence. A General in the regular army of the Ukrainian People's Republic (UNR), and author of memoirs on the Ukrainian involvement in the Russian Civil War, and co-author of the screenplay for the film Zvenyhora. Yurko Tiutiunnyk was born into a peasant family in the village of Budyshche, in the Zvenyhorodsky district of the Kyiv region. He was a grandson of Taras Shevchenko's sister Yaryna on his mother's side. After finishing Uman agricultural school in 1913, he was drafted into the Russian Army and served in Vladivostok. At the beginning of the First World War, he was a non-commissioned, twice-injured officer of the Russian Imperial Army. In 1915, with the recommendation of his military commander, he finished military school in the city of Gori in the Caucasus. After the second injury he was sent to the Simferopol 32nd Reserve Regiment where served until the February Revolution of 1917. 181 In the spring of 1917, Tiutiunnyk organized the 1st Hetman Doroshenko Simferopol Regiment, among the first Ukrainian national military units. In June of 1917, he attended the 2nd Military Congress, where the Ukrainian Revolutionary Parliament Central Rada declared Ukrainian autonomy. Yurii Tiutiunnyk, photo from State Political Directorate (GPU), 1929 As the leadership of Central Rada was slow to form a regular army, in the fall of 1917 Tiutiunnyk organized and led a Free Cossack Unit. After the Bolsheviks seized Kyiv in February of 1918, his military unit grew to 20,000 insurgents in all. Engaging in fierce battles, Tiutiunnyk's army defeated the 8th Army, occupied Byrzula and Vapnyarka, disarmed the 2nd Russian Army Cavalry Corps, and defeated defeats Mikhail Muraviov's 8,000-strong force in Bobrynsk. 1918 - , , , . , . , , ' ' ( ), , . 4 1919 ' , 182 , 1918 . . 7 ' , , , ' . ' 1919 ' ' , : , (� �). '-, 6 1919 5 1920 , . - () , 1920 , . During the Hetmanate in the summer 1918, Tiutiunnyk's unit carried out guerrilla attacks against Austrian and German military units. His was the key insurgent force in central and southern Ukraine. Under the leadership of the Ukrainian National Union, he took part in the anti-Hetmanate uprising. After the overthrow of the Hetmanate, he supported the Directorate of Ukrainian People's Republic (UNR), joining its regular army. When military action against the Bolsheviks was rejoined, Tiutiunnyk, disillusioned with the UNR leadership's inability to lead the nation in turmoil, joined the insurgent unit of Ataman Hryhoriev (Nychypir Servetnyk). Hryhoriev was commander of the UNR Army's Kherson Division, which had now gone over to the Bolshevik side. 183 On 4 April 1919, Hryhoriev and Tiutiunnyk occupy Odessa, forcing out the field command of the French Assault Division that had controlled southern Ukraine since December 1918. Tiutiunnyk becomes the military commandant of Odessa. Soon after, on May 7, Hryhoriev and Tiutiunnyk kindle an uprising in protest of Bolshevik terrorist tactics and join the army of Commander Nestor Makhno, the head of the Ukrainian anarchists. Following Makhno's assassination of Hryhoriev, his army disbanded and Tiutiunnyk joined the UNR Army at the time involved in fighting on three fronts (the so-called triangle of death); against the Bolsheviks, the Denikin Voluntary Army, and the Polish Army. ... ( , 1926) Yurii Tiutiunnyk in Heorhii Stabovyi's film P.P.P. (Pilsudski Pays Off Petliura, 1926) Controlling a small territory near Kamyanets-Podilsky from 9 December 1919 until 5 May 1920, UNR Army units carry out a successful guerrilla raid on the Red Army rearguard, which would come to be known as the First Winter Campaign, and reckoned as the single most heroic military action of the UNR regular army. Tiutiunnyk took part in the Winter Campaign, 1921 . ( , � �) : , , , , 359 , , . 1923 , . ', � � 184 . , . , . - ( ), (1927) Poster of Oleksandr Dovzhenko's Zvenyhora (1927) 1919 ', , . 1926 . . . ( ) , . , , , ' ( � ). , . heading the Kyiv Infantry Division as an assistant to General Mykhailo Omelyanovyh-Pavlenko. Tiutiunnyk remained with the unit until the fall of 1920 when the Ukrainian Army was interned in Poland. In the spring of 1921, Tiutiunnyk developed a plan of the Second Winter Campaign in an attempt to provoke an anti-Bolshevik uprising in Ukraine. However, with Symon Petliura's postponement of the campaign and the nation already somewhat mollified by the terms of the New Economic Policy, combined with the temporary end of "military communism", by the time the campaign eventually began, the NKVD had become well aware of the plan of attack. Tiutiunnyk's division was lured deep into the countryside and roundly defeated near the town of Bazar. The military brigade of Hryhoriy Kotovsky executed 359 soldiers who refused to surrender. Tiutiunnyk escaped. In 1923, Tiutiunnyk crossed the Polish-Soviet border with the goal of meeting the leadership of the regional insurgent committees which he coordinated after the Second Winter Campaign. It later became evident that these insurgent networks had been specifically created by the NKVD in order to disinform the UNR. Captured by the NKVD, Tiutiunnyk agreed to cooperate with the Soviet regime and, after a brief incarceration, was released. Tiutiunnyk settled in Kharkiv where taught at the military school for Red Army Sergeants. 185 With help from co-combatants from Hryhoriev's former unit who occupied senior positions in the People's Commissariat of Education, Tiutiunnyk was hired by the All Ukraine Photo-Cinema Administration (VUFKU) as a screenwriter. Here he met with young Ukrainian writers working at VUFKU. In 1926, Tiutiunnyk was invited to act in the action film P.P.P., (Pilsudsky Pays Off Petliura), Aksel Lundin directing the Heorhiy Stabovyi screenplay. Tiutiunnyk was to play himself in the film which dealt with the events of the UNR's Second Winter Campaign. His personal enemy, Grigori Kotovsky, was to appear in the film as well, but just prior to filming was found murdered under mysterious circumstances. (According to one , , , , -. � � - , . , , , , � . � � , - 1920- . , , , . , , , 186 , : , (1931). , . 12 1929 . 20 1930 ' � �. source, the murder had been ordered by Stalin). The film is raw and lifeless. Cheaply made, confusing battle scenes added to the poorly conceived plot. The resolute, charismatic, uncompromising, and principled Tiutiunnyk, a fierce critic of Soviet authority, quickly became an idol for young Ukrainian neo-romantic authors. Assisted significantly by one of his admirers, Maik Yohansen, Tiutiunnyk wrote the screenplay for the historical epic Zvenyhora. The plot heavily incorporates Ukrainian folk mythology. The idea apparently was Tiutiunnyk's, who likely adapted a legend from his hometown in the region of Zvenyhorodka. The multilayered, often confused plot was fleshed out by Yohansen, an adventure story master of the 1920s. In his memoirs, Dovzhenko relates that no VUFKU director would agree to work on such a complex script. Dovzhenko then decided to rework the screenplay himself and make it into a film. It is highly probable that Yurii Yanovsky, an editor at Odessa Film Studio, influenced Dovzhenko's decision. Good friends with Dovzhenko, he admired Tiutiunnyk, even depicting him in his novel Four Swords from 1931. 187 Upon completion of the shooting, Tiutiunnyk and Yohansen removed their names from the film credits, claiming that Dovzhenko had twisted key ideas in the film. On 12 February 1929, Tiutiunnyk was arrested in Kharkiv and sent to Moscow. There, charged with high treason and espionage, he was executed without a trial on 20 October 1930 in the NKVD Lubianka prison. 1876 (?) � 28 1938 , , , . 1876 . . , . 1914 , . 1910- , , , Pathe. � 188 , . , , , , , 1910- . Borys Zavelev, 1910s , - . , , �� . , , , . , . . , , � , , , . , , BORYS ZAVELEV CINEMATOGRAPHER (?) 1876 - 28 MARCH 1938 One of earliest Russian cinematographers and an outstanding camera operator, he moved to Ukraine and contributed to the foundation of Ukrainian national cinematographic school. Borys Zavelev was born in 1876. There is not much known from his early biography other than that he came into film from the field of artistic photography. In 1914, he joined the film studio of Russian cinematography pioneer Alexandr Khanzhonkov. A talented organizer and manager, Khanzhonkov had turned his company into the leading Russian filmmaking studio, and in the process forcing French film giant Path� out of the market. It was here that Zavelev shot the earliest work of the outstanding Russian director Pyotr Chardynin. After the Revolution, Chardynin would also move to Ukraine, contributing to the development of Ukrainian cinema. 189 After capturing two of Chardynin's works on film, Zavelev entered into a productive collaboration with yet another Russian director of note from the pre-revolutionary period, Yevgeni Bauer. Bauer was a subtle artist, a remarkable stylist, master of psychological detail, and author of intense thrillers. He was the first director to use special lighting on a film set, a mobile camera, and fog effects. He was known for his great attention given to the use of unusual camera angles, close ups, frame composition, and mise-en-scene. Bauer's esthetic was consistent with the artistic principles of Zavelev, who also possessed a clear vision of the role of light in film. Both Bauer and Zavelev thought cinematographically: Together, they created a series of authentic masterpieces. Of particular note are the films starring the actress Vira Kholodna, whose scope of talent was revealed in Bauer's films. Among them, we note: This Century Children, A Life for a Life, After Death, and The King of Paris. The acting in chamber dramas of the period was typified by a theatrical, histrionic style. Bauer and Zavelev went another way; creating not only artistically perfect imagery, but drawing more natural, unconstrained performances out of . � �. 70 , . 1917 . 1917 . 1920 , , . , 190 , , , , , , i , , . 1922 , (1927) Polina Otava in Oleksandr Dovzhenko's film Zvenyhora (1927) ( ), . , � , �. , , , , , the actors who worked for them. Zavalev's meticulous cinematographic artistry led the press to dub his style, "Itinerant Art"; comparing him to Russian realist artists at the close of 19th century. While working at Khanzhonkov's film studio, Zavelev worked on nearly seventy features, most of them working in tandem, with either Pyotr Chadynin or Yevgeni Bauer. The sudden death of Bauer, however, brought the long-term collaboration between these men to a halt. In the spring of 1917, Khanzhonkov's Studio moved to a specially designed film set in Yalta. Here films were made until the 1920s when Khanzhonkov left Crimea in flight from the Bolsheviks. For some time after, Zavelev stayed in Yalta continuing to work, now at the studio of Josef Ermolieff. Unlike cinema notables Ivan Mozhukhin, Natalia Lysenko, Victor Turzhansky, and Yakov Protazanov, all who immigrated to France in 1920, Zavelev moved instead to Georgia, where he worked with Ivan Perestiani. 191 In 1922, Zavelev returned to Yalta, where, together with director Vladimir Gardin, he shot the costumed phantasmagoria in the pre-revolution tradition, A Spectre Haunts Europe. Heorhii Tasin wrote the screenplay based on Edgar Alan Poe's Masque of the Red Death. The film was one first made at the newly established Yalta Film Studio of VUFKU (the All Ukraine Photo Cinema Administration), and the first film of the Ukrainian postrevolution cinema. In his memoirs, Gardin recalls that Zavelev was a true master, with a live, innovative mind." Crew of Oleksandr Dovzhenko's film Zvenyhora. In the center: cinematographer Borys Zavelev, director Oleksandr Dovzhenko, art director Vasyl Krychevsky . : , , During the first years of VUFKU, Ukraine lacked filmmaking expertise, and masters of Russian pre-revolution cinematography like Pyotr Chardynin, Borys Zavelev, and Vladimir Gardin were called upon to fill the existing gap. These filmmakers provided the impetus to the film theory . , . 1922-1923 , , , . � , � : , , � , . , �� . 1925 , ' , , , . , 1924 , 192 . , , 1925 1927 (1926), (1926) (1927) � . (1927). , - , : , , ��, . . , . , - (1930) . , . 1938 1938 . and practice that would later develop into the Ukrainian national cinema. During 1922-1923, Zavelev was the lone cinematographer for nearly all VUFKU films. Due to a lack of photographic film at the time, these pictures were few in number. During this period he made three adventure films -- two with Gardin and one with Chardynin: The Lord of the Black Mountains, Mr. Enniok's Final Bet, No Arrest? No Crime! Empty of any ideological subtext, the films were created as pure entertainment, belonging to the so-called "prehistoric stage" of Ukrainian Film. In 1925, a new group of young writers, directors, and actors take part in the creation the first clearly defined national films. Zavelev and Chardynin devote themselves to working out Ukrainian plots. In 1924, Zavelev films Vendetta with Les Kurbas directing. The next year he shot the first Ukrainian action adventure film UkrAsia, based on a screenplay by Hryhorii Stabovyi. Working again with Petro Chardynin, who was actively developing national themes to be used in film, Zavelev filmed the large-scale works Taras Shevchenko (1926), Taras Tryasylo (1926), and I (1927) � the latter is the earliest screen adaptation of the Mykola Gogol's Ukrainian literary classic The Night Before Christmas. 193 All of these films, however, served as prologue to Zavelev's most distinguished work; the early Oleksandr Dovzhenko masterpiece Zvenyhora (1927). The historical epic demanded that Zavelev draw on all his previously experience, employing quick-cuts, double exposures, fog effects, and low camera angles. Applying uniquely cinematographic instruments, the filmmakers were able to achieve a near-perfect synthesis of artistic symbols. All live shots were made in clear weather during the morning hours. While the result impressed critics, it was largely misunderstood by the wider audience. Following Zvenyhora, Zavelev filmed mostly dramas. His most notable films of the period was The Museum Guard (1930) directed by Borys Tiahno and starring Ivan Zamychkovsky. Following work on three more middling efforts, Zavelev then moved to Moscow to teach at The Gerasimov Institute of Cinematography (VGIK). In 1938 he was arrested, and died that year while in prison. - 12 1873 - 15 1952 -, , , - 1920- . , , . , , , , . 1889 , 194 , . 1891 , , . � , , . , 1920- . Vasyl Krychevsky, 1920s 1892 , , , - . , . , , , , , , . 1897 VASYL KRYCHEVSKY ART DIRECTOR 12 JANUARY 1873 - 15 NOVEMBER 1952 Among the most celebrated of Ukrainian modern artists, Krychevsky was an architect, creator of the national Modern architectural motif, and the founder of the national artistic film school. Vasyl Krychevsky was born in the village of Vorozhba, Sumy region, Ukraine. His father Hryhorii Krychevsky was a country physician of the lower middle class. After leaving school, Vasyl entered the Kharkiv Technical Railway College where he received intensive training in design, mechanical drawing, and material manufacturing. In 1889, Serhii Zagoskin, a professor of architectural design at Kharkiv Technological Institute, tutored Krychevsky in architecture and drawing techniques. In 1891, after attending a lecture on the archeological excavations in Troy, Krychevsky began collecting samples of Ukrainian pottery and teaching himself the art of ornamentation. At Zagoskin's home Krychevsky became acquainted with a number of remarkable people, including Mikhail Vrubel, Anton Rubinshtein, and Pyotr Chaikovsky. 195 In 1892, Krychevsky became the assistant of Alfred Spiegel, Kharkiv's chief architect. With Spiegel's help the young man began to familiarize himself with the views held by prominent British art philosopher John Ruskin. He was particularly interested in the role of everyday decorative art found in the architecture of different eras. Within the year Krychevsky had started working in the architectural bureau of Oleksiy Beketov where he designed a series of private mansions in Kharkiv. Through his connection to the Beketov's, relatives of the Alchevsky family -- long-established cultural activists and patrons of the arts -- Krychevsky was welcomed into the circles of the Ukrainian intelligentsia, acquainting himself with prominent archeologists, ethnographers, and historians of the time. This interaction greatly assisted him in improving his knowledge of folk art. In 1897, Krychevsky . , 1918 . Anatol Petrytsky. Vasyl Krychevsky's portrait, 1918 . 1903 , ( ' ). , ( �- �), , , 196 , - . - , , 1907-1910 . , 1912 . Vasyl Krychevsky. Cover of Mykhailo Hrushevsky's book History of Ukraine, 1912 . , . 1911 , , , -- . , 1910-1913 . made his debut as an artist, exhibiting a series of water-colors at a Kharkiv art showcase. From this time on, he began to regularly exhibit his artwork. In 1903, the Poltava (City) Zemstvo, a self-governing administrative body, adopted a project for its new offices. Krychevsky designed the project employing Ukrainian folk architectural style, paying special attention to the facade and interior decor. The acceptance of the authentically Ukrainian project (at that time various euphemisms were applied to Ukraine and Ukrainian culture in general; "south Russian", "pseudo-Mauritanian", for example), was endorsed by the pro-Ukrainian fraction of the Zemstvo, leading to heated political debates questioning the right of this "style" to exist in a Russian Empire which did not officially recognize the existence of a distinct "Ukrainian" nation. These public debates spurred on the development of a new series of educational courses examining the history of Ukrainian architecture; courses which, in turn, stirred up cultural and political activity among the Ukrainian intelligentsia. 197 Following the successful completion of the Poltava Zemstvo project, which featured a combination of modernist and national motifs, Krychevsky moved to Kyiv. Here, Ukrainian everyday theatre master Mykola Sadovsky invited him to construct sets for performances of the first permanent Ukrainian theatre. Krychevsky designed more than 20 shows for the theater over the course of his life. During that period, Krychevsky also built several multi-story buildings using his own designs; among them, the home of Professor Mykhailo Hrushevsky, who would to become the First Ukrainian President. He also participated in the archeological dig at the Church of Tithes led by archeologist Vikentii Khvoika. In 1911, Krychevsky began to work with book graphics, designing, among others, Hrushevsky's The Illustrated History of Ukraine. In preparation for the project, he visited Cracow and Lviv where he was introduced to Mykhailo Boichuk, a prominent theorist and practitioner of Ukrainian . Vasyl Krychevsky. The building of Poltava Zemstvo , , . 18 1917 , : , , , , , . , . 7 1918 , , , . , 198 . , , . -- -- 22 1918 . 1918 , : , , . 1919 : , , . , 1925 . modern monumental art. Back in Kyiv, Krychevsky was soon involved in the Ukrainian artistic and academic community, and from 1910 top 1913, he exhibited his work at exhibitions in the capital. After the February Revolution of 1917, Krychevsky supported prominent Ukrainian historian and art critic Professor Dmytro Antonovych, soon to become Deputy Head of the Central Rada, in his efforts to establish the National Theatre and Academy of Arts. On 18 November 1917, the newly established Ukrainian Government Central Rada adopted the Art Academy Charter, appointing a number of prominent Ukrainian artists to the Academy staff; among them, Heorhii Narbut, Mykhailo Boichuk, Abram Manevych, Mykola Burachek, Oleksandr Murashko, Mykhailo Zhuk, borthers Vasyl and Fedir Krychevsky. Vasyl Krychevsky was appointed rector of the Academy but soon stepped down, ceding the position to his brother. . , 1918 . Vasyl Krychevsky. Two hryvnas banknote of Ukrainian People's Republic, 1918 199 On 7 February 1918, having defeated the Ukrainian military near the towns of Bakhmach and Kruty, and following an 11-day bombardment of the city, Bolshevik units under Mikhail Muravyov entered Kyiv. The bombardment resulted in a fire at Hrushevsky's home, destroying his priceless archive of ancient texts, Hrushevsky's private documents, and the entire collection of the personal, authentic Ukrainian artwork of Krychevsky. Following the retaking of Kyiv, Hrushevsky commissioned Krychevsky to design the Ukrainian coat of arms, a state seal, paper currency, and postal stamps for the Ukrainian People's Republic (UNR). Within the week Krychevsky had drawn up the design of a modified trident of Kyi- 1919 , , . 1922 , , , ( ). 1925 ( ) , , , . , - . 1926 200 , , . 1926 . , , 1926 . Kino magazine cover, 1926 : 1927 , -, , , , -- , , - 1917-1921 . (1927) -- . van Rus Prince Volodymyr the Great. His design for the Ukrainian coat of arms was officially adopted by the UNR Rada on 22 March 1918. In September 1918, Krychevsky accepted a proposal to head the Myrhorod Ceramics Institute. Krychevsky quickly completely reorganized the school by adopting a new curriculum, introducing Ukrainian as the language of instruction, and inviting teachers from Kyiv and Poltava to join the faculty. In 1919, Myrhorod was seized by Bolshevik troops. The head of the Red Army unit (and later a head of the local Cheka), Pavlo Nechesa, arrested Krychevsky on three separateaoccasions on information gleaned from local communists. With each arrest, however, Krychevsky was defended by the local community and students, and spared execution. Years later, Nechesa became the director of the Odessa Film Studio which Krychevsky himself would join in 1925. 201 In mid-1919, Krychevsky left the Ceramics Institute, closed down by the Bolsheviks, and returned to the Kyiv Art Academy, which had had its charter dismissed and property confiscated. In 1922 when the Academy was reopened, Krychevsky worked both there and at the Kyiv Architectural Institute. In that year he was also elected a full member of the All Ukraine Academy of Science (AUAS). (1926). , 1926 Announcement of Petro Chardynin's film Taras Triasylo (1926). Kino magazine, 1926 In 1925, the All Ukraine Photo Cinema Administration (VUFKU) invited Krychevsky, the preeminent authority of the national Ukrainian motif, to take part in a project. He was to design a film set and advise the crew working on a biographical feature film, Taras Shevchenko, to be directed by Petro Chardynin and starring Amvrosii Buchma. This marked the first time in the history of Ukrainian filmmaking that a film director sought input from an art history consultant. In 1926, Krychevsky designed two VUFKU historical films: Taras Triasylo and Mykola Dzheria. In these films, filmmakers were for the first time working on themes from Ukrainian history, and by doing so were manifesting the genesis of a truly national cinema. Following these projects, Krychevsky stayed on at Odessa Film Studio full-time. , 1920- . 1928 ( 400 ) , , , . 1928 , , . 1929 -- - 202 . ' , . (1928) Vasyl Krychevsky. Drawing to Oleksandr Dovzhenko's film Zvenyhora (1928) ( ) . , , 1929-1930 . -- . 1930 , 1931 -- , 1934 -- -- "". 1932 Here he designed some of the most notable pictures of Ukrainian silent cinema. In 1927, working with the best directors of the day, he designed the following: Fauvst Lopatynsky's Vasylyna, Hryhorii Hrycher-Cherykover's Sorochyntsi Fair, Mykhailo Shor's Gonorrhea, as well as In Pursuit of Happiness by Marko Tereshchenko, and Boots and The Whims of Catherine II by Petro Chardynin, and finally, Oleksandr Dovzhenko's Zvenyhora. In the last film, Krychevsky needed to depict several different epochs from Ukrainian history: the conquest of Kyiv by Varangian Princes of the North, the Kyivan Rus, the Haidamaky, and the national liberation movement of 1917--1922. Krychevsky also served as art consultant for the wellacclaimed psychological masterpiece of Ukrainian cinema, Two Days, directed by Heorhii Stabovyi. It was at this time that Krychevsky participated in the First All-Ukrainian Art Exhibition and started working on the design for the Taras Shevchenko House in the Kyiv City Center. He had discovered the building's location at the beginning of the 1920s, later procuring it for the purposes of a museum. In 1928 Krychevsky created a design for a four volumes Ukrainian Poetry Anthology: 400 portraits and the cover, altogether. A few years later the compilation was removed from store bookshelves and all copies destroyed. 1928 was the year that Krychevsky also worked on the films Storm, by Pavlo Dolyna, Dzhalma, by Arnold Kordium, and Gossip, by Georgian director Ivan Perestiani, who had also worked occasionally at the Odessa Film Studios. In 1929, Krychevsky set two films: a tendentious propaganda piece, Thistle, directed by Pavlo Dolyna, and a nuanced psychological drama by Arnold Korduim entitled Wind Across the Threshold. The film told the story of the wasting of Ukrainian villages during the construction of the Dnieper Hydo-Electric Facility (DniproHes). That year Krychevsky was busy Vasyl Krychevsky. Drawing to Oleksandr Dovzhenko's film Zvenyhora (1928) . (1928) 203 , -- . . 1931-33 ( ) , . , 1937 ' - , , - , " " . , " ", 204 , . , , , , , . , -- , . . - Vasyl Krychevsky. Project of Memorial Museum of Taras Shevchenko 1936 . ' . , -- (1938) . 1937 . . drawing up a number of projects: a monument in Chernihiv to the Ukrainian writer Mykhailo Kotziubynsky, a museum at Shevchenko's gravesite, and a modernist design for a building in Kyiv for literature workers (RoLit). With more and more engagements in architecture and teaching coming to him, Krychevsky found himself working less and less in film: a not unreasonable position considering the devastating manhandling and ultimate persecution undergone by the Ukrainian cinema industry in 1929-1930. Film was ultimately co-opted to serve political ideology. Feature film, a mere cog in the propaganda mechanism of the totalitarian state. In 1930, Krychevsky set the films Contact and The Heat of Revenge, in 1931, Steppe Flowers, and in 1934, the shorts Poppy Blossoms and My: nearly all of these films primarily addressed the question of collectivization and the fight against wealthy landowners (kulaks). In 1932, Krychevsky worked as a cinematographer on film The Road is Free directed by Lazar Bodyk. Bodyk would later assist Oleksandr Dovzhenko in the filming of Earth. 205 At that time, the Council of People's Commissars of Ukraine passed a decision to build a memorial museum on Chernecha Hill in Kaniv in honor of Taras Shevchenko. Between 1931 and 1933, Krychevsky, working with Petro Kostyryk, submitted a series of project drafts of a museum in a Ukrainian architectural motif. Competition committee interference resulted in a reworked, simplified plan that nonetheless took years to build, dragging on into 1937. At that point, Ivan Mashkov published an article in the Architectural Digest in which he denounced the Sortie of Bourgeois Nationalists who would do anything to preserve the cruciform design of the Shevchenko memorial". Construction was stopped immediately. Committee after committee of experts got involved. Krychevsky was accused of bourgeois nationalism, which meant certain arrest would follow. The farce lasted nearly a year, at which time the art historian Rodionov was able to convince the commission that the memorial was certainly no cross, but rather more resembled a proletarian hammer in its shape. At the time Krichevsky also endured criticisms for his designs' contribution to the "counter-revolutionary" nature of the films Taras Tryasylo and Taras Shevchenko. In 1936, Krychevsky set the early Ukrainian sound film Prometheus, 1940 , 50 000 . , , , . 1943 , , ' , . 1944 , . , -- , . 206 , , 1948 , . 1948 . . , 1923 . Vasyl Krychevsky. Crimean Tatar house in Alushta, 1923 : ', , . , Cementerio General del Sur, - . - -. � , , , � , �. directed by avant-garde director Ivan Kavaleridze. The following year Krychevsky worked on Georgi Tasin's treatment of the Taras Shevchenko play, Nazar Stodolia. The final film for which Krychevsky designed the production was the first Ukrainian color film, Sorochyntsi Fair (1938), directed by Mykola Ekk. In 1937, at an exhibition of Soviet artists in London, Krychevsky took second prize for his work in A View of Iryninska Street in Kyiv. That year he also organized his personal exhibition in the House of Scientists. In 1940, the Kyiv State Art Museum organized a retrospective exhibition of Krychevsky's work. Over 50,000 visitors attended the event. Krychevsky remained in the city at the start of the German occupation of Kyiv -- painting in oils, painting landscapes, and teaching. Then, at the end of 1943, fleeing the Soviet Army, he moved with his family to Lviv where he was made Dean of the Advanced Art School. In the spring of 1944, Krychevsky and family moved further west, traveling by train in a plan organized by the Ukrainian Central Committee to evacuate Ukrainian cultural activists from the country. During a journey that took him through Czechoslovakia, Austria, Germany, and finally to France, Krychevsky lost all his luggage, including his archives and artwork. He settled briefly in Paris where he lived with his son Mykola, staying there until 1948, selling his paintings to make a living. Later he moved again, this time to be with his daughter, Halyna Krychevska-Linde, in Venezuela. Here he painted local landscapes, and Ukrainian scenes from memory; he designed books, and built sets for local Ukrainian amateur theatres. , 1930- . Vasyl Krychevsky, 1930s 207 Vasyl Krychevsky died in Caracas, Venezuela, and was buried at the Cementerio General del Sur. His remains were later reinterred in the United States, at the St. Andrew Cemetery in South Bound Brook, New Jersey. "In the history of Ukrainian architecture, graphics, canvas painting, and the fine arts, the name of Krychevsky denotes an epochal, and to this day, unequaled, level of achievement." MYKOLA BAZHAN 13 1904 � 23 1969 - - . 1922 , - , 1922-1925 , , . , . 1922 208 , , , . ( ) : , , . , 1924 . Semen Svashenko, 1924 1925 , , . , - . . , . SEMEN SVASHENKO ACTOR 13 SEPTEMBER 1904 � 23 NOVEMBER 1969 Semen Svashenko was born into a peasant family in the Ukrainian village of Derhachi in the Kharkiv region. In 1922, he left for Kyiv where he was enrolled in Vocational-Technical School. He soon dropped the Vo-Tech in favor of Kyiv's Lysenko Music and Drama Institute, where, from 1922 through 1925, he sits at the feet of the celebrated Ukrainian theatrical director and reformer of easternEuropean theater, Les Kurbas. Following his graduation from the institute, Svashenko is taken on as an actor at Kurbas's Berezil theater, honing his craft in theater workshops. In 1922, Kurbas, while continuing his theatrical work also directs four short films -- none of which have been preserved -- for the Odessa Film Production Studios, employing his actors from Berezil. This is the first broad-scale attempt to involve Ukrainian actors like Svashenko in the fledgling Ukrainian film industry. Prior to this, most film-work shot by pre-revolution directors at the Yalta and Odessa studios had gone to Russian actors. 209 1925 marked the year of Kurbas's lone attempt at shooting a full-length feature: Workers of the Arsenal. The plot for the film revolved around the Bolshevik uprising at the Kyiv Arsenal munitions factory and the Central Rada's armed suppression of it. Heorhii Tasin, a future giant among Ukrainian film directors, wrote the screenplay, with production designer Volodymyr Miuller handling the sets. Semen Svashenko made his film debut in a lead role in the film. The result was noted by contemporaries for its singularly experimental look, particularly the novel incorporation of a horizontally-divided screen. The film's conflict would be reexamined artistically by Oleksandr Dovzhenko three years later in his film Arsenal. Semen Svashenko was again approached to play the lead role. (1928), . � (1927) � . , , . , . (1928) 210 . , � , � , , , : , , , . 1920- . Berezil Theatre Actors: Semen Svashenko, Petro Masokha, Dobrynsky, mid-1920s - . , , -, �� . 1929 : , , . , . Svashenko's second role in a feature film -- that of Tymish in Dovzhenko's 1927 cinematic-poem Zvenyhora -- bore witness to the emergence of a new and exciting talent onto the Ukrainian screen. With his intense, almost tactile performance and crisply nuanced physicality, Svashenko perfectly captured the undeterable spirit of Dovzhenko's symbolic combatant for the communist ideal. Employing characteristically precise method, Savchenko brilliantly synthesizes the determined physical economy demanded by the role with subtle, yet lively, eye movements. In his subsequent film, 1928's avant-garde masterpiece Arsenal, Dovzhenko again settles on Svashenko for the lead. In the film, Dovzhenko compresses the history of the Ukrainian Revolution into a tightly condensed story covering only a few days at the munitions plant; a stark contrast to expansive, millennium-spanning plot of his prior Zvenyhora. 211 Taken together, the films perfectly complement one another, creating a poetically-cohesive Ukrainian cinematic mythology. Embracing his Arsenal role as a bold, focused revolutionary and Communist Party activist, Svashenko creates at a pass the template for the undying hero-combatant; the "saint" of the new, Soviet mythological canon. Semen Svashenko in Ivan Kavaleridze's film Perekop (1930) (1930) In 1929, Semen Svashenko appears in four films: Snowdrifts, Two Women, By New Paths, and The Waxworks Exhibit. The latter is the final film made by Heorhii Stabovyi and a most interesting work of Ukrainian silent cinema. Svashenko played the lead supporting role. In 1930, the actor appeared in the two most celebrated films of the Ukrainian avant-garde: Dovzhenko's Earth, and Ivan Kavaleridze's Perekop. In Earth, Svashenko's character differed from his earlier 1930 � . , , : � , � . � � � . � (1930), ( � 1931 ) � . 1933 , , 212 ( 1957 , ). � (1935) (1936) . 1940- , 1920-x . Semen Svashenko, early 1920's , . 1950- (1957-1958) (1965) . 1945 -- - , 1957-- . Dovzhenko roles; this time playing the youthful Vasyl. Zealous, romantic, and reliable, the actor imbued this convincingly-drawn character with an inspired vitality. In the hands of Svashenko, the film's "Vasyl's dance" scene is molded into one of the most lyrical moments ever captured on celluloid. Svashenko's next appearances in Ukrainian film come in the form of minor roles in 1930's Man from a Small Town, and Fata Morgana and Night Storms, both from 1931. In 1933, Svashenko moves to Moscow, in a move clearly aimed at escaping the political repressions in Ukraine. From that moment, other than his role in the Odessa Film Studios 1957 production of Pages from the Past, the actor appears only in Russian films. 213 Pre-war roles of note for Svashenko include a part in Boris Barnet's 1935 romantic comedy By the Blue, Blue Sea, and Lev Kuleshov's 1936 Dochunda. In the 1940s, the actor was reduced to supporting, often uncredited, roles. In the 1950s, Svashenko gave emotionally convincing performances as Harandja in Sergei Gerasimov's 1957-58 The Quiet Don, and as an old soldier in Sergei Bondarchuk's 1967 Academy Award winning War and Peace. Semen Svashenko in Oleksandr Dovzhenko's film Arsenal (1927) (1927) Svashenko worked at the Film Actors Studio Theater in Moscow from 1945 until 1957, at which point he joined the MosFilm Studio. 21 1892 � 27 1937 � 20- . . 1906 , , , , , . . . 214 , 1917 , . 1918 (1932) Mykola Nademsky in Oleksandr Dovzhenko's film Ivan (1932) , . 1920 � , 1921 � . .. , ( � . ), � . 1926 . MYKOLA NADEMSKY ACTOR 21 DECEMBER 1892 � 27 SEPTEMBER 1937 Born in Kyiv, Mykola Nademsky was a noted Ukrainian film actor of the first half of the twentieth century. In 1906, he graduated from the Kyiv Art Academy; the school that produced brightest stars of the Ukrainian avant-garde such as Alexander Arkhypenko, Ivan Kavaleridze, Anatol Petrytsky, Ivan Padalka, and Vasyl Sedliar. Following graduation, Nademsky attended the theatrical workshop of Maria Savina in Moscow. After completing his courses he toured Stockholm and Helsinki with the Shakhmin acting troupe. In 1917, he was sent to fight at the Front in World War I. He served in the Kexholm Regiment, which had been heavily relied upon by the Bolsheviks both during the popular insurrection against the provisional government in Petrograd, and during the assault on the Winter Palace. In January 1918, he took part in the revolt of the "Bolshevized" laborers at the Kyiv Arsenal plant, which was soon put down by Central Committee Forces under the command of Symon Petliura. 215 He began acting in amateur theater in 1920, and in 1921, at the Second Lenin Theater of the Soviet Ukrainian Republic, (formerly the Solovyov Theater, and currently the Lesia Ukrayinka National Theater of Russian Drama). Eventually he would also both act and direct in provincial theaters around Ukraine. In 1926, Nademsky managed to arrange a job at the Odessa Film Production Studios; making his debut in Benia Kryk, directed by Volodymyr Vilner with a script by Isaac Babel. He also got minor roles in Balliusek's Hamburg, Aksel Lundin and Heorhii Stabovyi's P.P.P., and the early Oleksandr Dovzhenko comedy Love's Berries. In 1927, Nademsky played the supporting role of "Grandpa Matvii" in Joseph Rona's treatment of the Ivan Franko historical-social drama, Boryslav Laughs. Soon typecast as a film "patriarch", the actor began , ... . 1927 - . , ��, . , : � 216 �, , , . 1927 � : , (1927) Mykola Nademsky in Oleksandr Dovzhenko's film Zvenyhora (1927) , , , , � ' , , . 1928 � � , , . 1928 � . to appear regularly in classic Ukrainian silent films. He followed up his next two supporting roles -- in Mark Tereshchenko's The Pursuit of Happiness, and Oleksandr Solovyov's Gonorrhea -- by accepting the lead in Dovzhenko's phantasmagorical Zvenyhora. He played a dual role in the film: that of the "Eternal Father", the symbol of an ancient, unbroken tradition; and also the hapless Russian Imperial Army General who sentences the communist Tymish to death. The year 1927 proved to be the most productive year of Nademsky's life. In addition to the films listed above, he had roles in: Petro Chardynin's The Whims of Catherine II, Nikolai Okhlopkov's Mitia, Volodymyr Vilner's Cement, Heorhii Stabovyi's The Man from Out of the Forest, and Petro Chadynin's Boots, among others. All told, he appeared in nine films that year, solidifying his status as a character actor capable in any genre. 217 In 1928, Nademsky, in a manner synonymous with the actor's reputation, appeared in a number of films; including, Dovzhenko's Arsenal, Heorhii Tasin's The Night Coachman, and Mykola Shpykovsky's Three Rooms Off the Kitchen. Certainly his most interesting and dramatic part came with the title role of the Oleksandr Solovyov film, The Benefit Performance of George, the Clown. Mykola Nademsky in Oleksandr Dovzhenko's film Ivan (1932) (1932) In 1930, Dovzhenko again approached Nademsky, this time offering him the part of the grandfather Semen in the epic Earth. This supporting role, perhaps the defining role in the film, is fascinating in that Dovzhenko has clearly invested it with his own quite personal, lyrical construct of the patriarchal character of Ukrainian rural life: the personification of which was based the director's own grandfather. 1930 . , , , , , , . , , , , , , . , (1931) (1932) , (1932) (1934) , , 218 � (1936). , , . ( ). 1937 . � � , . , � �. Nademsky delivers a luminous portrayal of the old man bidding his family farewell: surrounded by nature's resplendent bounty, he passes on at peace with himself and the world. The scene obliquely called into question the necessity of the sudden, ruinous, radical changes that would come with collectivization, and subjected Dovzhenko to accusation of pandering to the kulaks, naturalism, and bourgeois nationalism. Nademsky continued to work steadily in the early 1930s, appearing in supporting roles in Ivan Kavaleridze's 1931 Koliivshchyna, as well as Dovzhenko's Ivan the following year. He won lead roles for the Vasyl Radysh 1932 film, On the Great Way, and Myron Bilynsky's Execution, as well as dozens of other productions from Kyiv, Leningrad, and Belarusian studios. His greatest role of the period, however, was that of Taras Shevchenko in the Kavaleridze 1936 historical drama Prometheus. Sadly, the scene was lost forever: cut by Soviet censors following the actor's execution. 219 Overall, Nademsky played more than sixty roles in around forty films: often playing two and even three different roles in one film. In 1937, Mykola Nademsky was arrested by the NKVD and shot as an enemy of the people. "Cinema is an impulse that compels a man to strive for more. To study and to work: these are my only objectives." MYKOLA NADEMSKY () ? � 1973 - (1927), - , , , . , . � � , , � �, , 220 . - , (1927) Oleksandr Podorozhnyi in Oleksandr Dovzhenko's film Zvenyhora (1927) (1930), , ��, . (1931) � �, . ' . , 1953 . 1955-1957 ' : ' . � � 1973 . LES (OLEKSANDR) PODOROZHNYI ACTOR ? �NOT EARLIER THAN 1973 Les Podorozhnyi entered the world of film via experimental director Les Kurbas's Berezil theater. In his debut in Oleksandr Dovzhenko's 1927 grand epic Zvenyhora, he played the part of a soldier in Petliura's army, the grotesque Pavlo: Grandson of a stylized Grandfather-figure with whom he hunts buried treasure in the hills surrounding Zvenyhora. The film's two-dimensional depictions of the Ukrainian People's Republican (UNR) Army and Ukrainian emigrants in Prague do not detract from Podorozhniy's portrayal of the adventuristic Pavlo; a part the actor imbues with great symbolic power. The character Pavlo stands in striking counterpoint to the other grandson, the fixedly ideological Tymish, who, scornful of "the madness" of opposition, joins the Bolshevik side. Pavlo, in contrast, devotes himself to the traditions of his people, and, weapon in hand, is prepared to stand his ground in defense of their time-honored ways. He personifies a solid alternative to Bolshevism: that of the self-governing aspirations of the UNR. 221 Following Zvenyhora, Podorzhnyi found himself often typecast as a criminal-counterrevolutionary. In his next film, the 1930 psychological chamber piece by Borys Tiahno, The Museum Guard, he was once again cast as a lowlife, conniving conscript in Petliura's army. In Faust Lopatynsky's Karmeliuk (1931), Podorozhnyi yet again played a "class enemy"; this time his role was that of the aristocratic, but conniving, Count Pihlovsky. It is at this point that Podorozhnyi's acting career is suddenly interrupted. He doesn't work in film for nearly a quarter century, until 1955; most likely a blacklisting that was lifted only with Stalin's death in 1953. When he finally reemerges it is in supporting roles, acting in three films from 1955-57: The Flames of Wrath and Ivan Franko by Timofii Levchuk, and a treatment of the Oles' Honchar screenplay, That Partisan Sparkle, directed by Mechyslava Maievska and Oleksii Masliukov. Podorozhnyi's final role came in Timofii Levchuk's Musings on Commander Kovpak, which was shot in 1973. 222 FUTUREthno , , . FUTUREthno , , . � � - , , � . () , , , , , , , , , Inne Brzmienie. : , , , , , Alfred House Tango Orchestra, ; , , , , , ; , , , , , , , ; DJ Krime, , Turntablism , . Brzmienie. Philip Shymanyak, the group's violinist, graduated from Chopin Musical Academy in Warsaw. He has performed with the Warsaw Symphony Orchestra Sonata, as well as the Szczecin Castle Opera, the Lomzynsky Chamber Orchestra, the Alfred House Tango Orchestra, and the New Chamber Orchestra. Contrabassist Lucas Ovchinnikov has broad festival experience, appearing with orchestras led by Jacek Kaspshyka, Krzysztof Penderecki, Gabriel Khmur, and Kristof Al'tstandt. On percussion, Dominic Yaske has FUTUREthno Polish-Ukrainian ensemble that plays energized, folk-infused electronic jazz. Band members meld their diverse musical experience in a quest for artistic consensus that reflects the broadest possible range of musical eras, cultures, and aesthetics. Their "musical lineage" includes the conservatory, jazz, and electronic music, and results in a singularly characteristic sound. Roman Bardun, the band's founder, pianist, and principle composer, hails from Ukraine. Having studied under noted Polish jazz musicians such as Joachim Mensel, Voitsek Hrobozha, Pyotr Vylezhal, Andje Yahodzinsky, Roman has performed in ensemble work at a number of festivals in Poland and Ukraine, including: Jazz Bez (Without), Lviv Weathervanes, Fortmisia, and Inne performed with celebrated artists of the Polish and international music scene including Wayne Ellington, Elaine Simpson, Brian Fentres, Grzegorz Potrovski, Marcin Pendovski, Mateusz Krautvust, and Nick Sinclair. DJ Krime, a leading Polish DJ and a pioneer of the second wave of Polish turntablists, gives the music of FUTUREthno its electronic edge. His experience includes performances with Polish jazzmen Slavek Yasulke, Joachim Mensel, Yaroslav Smetana, Krzysztof Dzydzits, Jerzy Malek, Karim Martusevych, Yorhosa Skoliyasa, and a host of others. On 25 June 2011, FUTUREthno premiered their musical accompaniment to the Oleksander Dovzhenko silent film masterpiece Zvenyhora at the Mute Nights Festival of Silent Film and Contemporary Music, in Odessa, Ukraine. 223 : , , , , , , , . , . ', . P E R E K O I V A STEPAN P N SHAHAYDA, K A IVAN V A L VASYL E R KRASENKO, I D OKSANA Z E STARRING: TVERDOKHLIB, PIDLISNA, SERGEI MININ, SEMEN SVASHENKO, KATERYNA OSMIALOVSKA, S.VASIUTYNSKY, M.ASTAFYEV, O.EMMANUELLE / ABOUT , , , , . IVAN KAVALERIDZE, FILM DIRECTOR Noted for its masterful use of lighting rather than splicing, adding depth to the film, an almost stereoscopic quality: this is Kavaleridze's Perekop. , . , . �� . . 226 , , . . , . The passage through the village of Syvash, incorporating a full, twenty-meter basin of the old fountain is shot in the studio. In the water up to their shoulders, the actors stand holding a bridge made of peasant carts. The set envisages a light dusting of snow, ice. Shooting takes place at night. Spotlights finding the cavalry, the artillery here, a solitary figure there, picking them out of the darkness. The horses, frightened by the lights, tumble, snuffling, into the water. The performers seem unaware that they are shooting a film. . . -- . . , . The dynamic lighting scheme incorporates medium and long shots of actors splashed with plaster and naphthalene crystals. This scene comes off in particularly convincing manner. -- Boundaries and roads crisscross a field. The bones of a horse lie scattered about. A farmer tinkering with his plough. Cannot make this thing work! . ... A factory smokestack moans. A flock of starving birds wheel above the fields... � . Far away the battle is on. The sky on fire. , . The farmer, utterly frustrated, bayonet in hand, but unable to fasten it to his plow, angrily thrusts the weapon into the earth. , � , ... Overworked, exhausted women toil away in the mine, chipping away at the crumbling wall of spoil-coal, breaking off bits to feed the dwindling . . . , �� �� ... A solitary trolley creeps out of the mine into the open air. A switch is flipped. Massive construction sites set in motion. Immense gears begin to turn. The silent symphony of industrial might , 1930 , , , ... KINO MAGAZINE, 1930 "So artistic, rich and forceful are the images director Kavaleridze uses in his last film Perekop, that the pages of literal civil war history pale in comparison... sounds in throaty response to the farmer... 227 furnace flames... , . The film impresses with its ingenious artistic expression, knitting psychological realism and synthetic imagery. You can sense the film's originality , . , . of artistry and form in its composition, and you understand that this director has given birth to a new type of cinematic art." , , , , , , , . PETRO MASOKHA, ACTOR FROM DOVZHENKO'S ARSENAL, EARTH, AND IVAN, SPEAKING ON PEREKOP The director doesn't present us with concrete, historical events but monuments as if set in motion; he sways the audience with his singular, stylized, romanticism in composition, cinematography alternating light and shade, actors in mise en sc�ne, abstract planes and scenery lines. , . , , . 228 , . . It clearly wasn't just a film. What's more, it was undoubtedly not a performance intended for a wide audience. Its epic character and artistic sense, recalls, to a certain degree, Ukrainian folk ballads, not unlike films by Dovzhenko. , , , , , . IVAN KORNIYENKO, CRITIC Perekop was created to be almost songlike. It is an original work that astonishes with its scale, temperament, larger-thanlife characters, and clear-cut action. Scenes lack, however, the usual cause - ': ' , . and effect plot progression, which is supplanted by a more poetic, associative progression. (I) 26 1887 -- 3 1978 � 20 ., , . , � � , ; � , . 1899 , , , , , 230 . : , , , . , - . , 1910- . Ivan Kavaleridze, 1910s 1906 ( ). 1908 ( ) , . ( .. ). 1909 , , . IVAN KAVALERIDZE (KHVARIDZE) DIRECTOR 26 APRIL 1887 -- 3 DECEMBER 1978 Ivan Kavalerdze is one the most prominent Ukrainian sculptors of the twentieth century. An originator of the Ukrainian avant-garde in both sculpture and filmmaking, he stands alongside Oleksandr Dovzhenko as co-founder of Ukrainian poetic cinema. He was born into a family of a house steward, Petro Kavaleridze, who according to one story, was the son of a Caucasus war veteran, a General Ladansky and the Georgian princess whom he brought home to his estate in Ukraine's Sumy region. Another version of the story has Kavalerdize's father as ancestor to a Georgian insurgent brought by Ladansky from the Caucasus. In 1899, having finished school, Ivan Kavaleridze moved to Kyiv to live with his aunt, Iulita Mazaraki. Yulita was married to well-known Kyiv artist Sergei Mazaraki, curator of the Scythian exhibition at the Kyiv Archeological Museum. Through family connections, Ivan got to know a number of famous Ukrainian artists, among them Ivan Trush, Adrian Prakhov, Mykola Sadovsky, and Maria Zankovetska. In Kyiv, Kavalerdize entered the Walker Private School (Gymnasium), where he studied with and befriended the soon-to-be internationally acclaimed cubist sculptor Alexander Archipenko. In 1906, Ivan entered the department of sculpture at Kyiv Vocational Art School and the workshop of Fedir Balavensky, a student of Mykola Murashko. , 1909 . Ivan Kavaleridze, 1909 231 In 1908, opera singer Stepan Brykin first noticed Kavalerdize's sculptures, particularly his Creation, at the art school's student exhibition. Ivan got involved with the Kyiv opera workshop, working as an extra and creating sculptures of opera performers, including Fyodor Shaliapin. In 1909, Kavaleridze received a recommendation from Kyiv Opera artist Oskar Kamionsky and left for St. Petersburg, where entered the , ' , ' , . , , . , ' , 4 1911 . , . .. (1912), , , , , 232 ( � 1913 ), , , , -, ( � 1914 ), (1915) , . 1915 . 3- , , 1915 . Ivan Kavaleridze, 1915 , . (1915). 1917 ', , , , , ' . , Academy of Arts, the workshop of the renowned Ilya Ginzburg. Shortly after, meriting an achievement award for a project draft of a monument to Taras Shevchenko, he left for Paris where he worked as the apprentice of sculptor Naum Aranson. While in Paris he met Alexander Archipenko, Auguste Rodin, and Claude Debussy. After returning to Kyiv, Kavaleridze won a contest to design a statue of Princess Olga, receiving permission to erect the monument, which was unveiled 4 September 1911. The same year Kavaleridze received a proposal to design scenery sets for films at the Moscow-based Thiemann and Reinhardt Film Studio, which often shot in Kyiv. Kavaleridze designed films for the so-called Gold Series, directed by pioneers of Russian cinematography like Yakov Protazanov and Vladimir Gardin. The films -- Departure of a Grand Man (1912), Keys to Happiness, The Shattered Vase, A Chopin Nocturne, How Fine, How Fresh the Roses Are (all, 1913), Anna Karenina, The Anger of Dionysus, The Kreutzer Sonata, Enver Pash--Traitor of Turkey (all, 1914), and War and Peace (1915) -- are classics of prerevolutionary Russian cinematography. 233 In 1915, Kavaleridze was actively enlisted in the Army, completing his military service as a commanding officer of the Third Reserve Infantry Battalion in charge of the safety of the Tsar's Family after the February Revolution of 1917. During this time, he also took part in publishing the early avant-garde journal, Bloodless Murder (1915). In 1917, Kavaleridze was delegated by the Russian Provisional Government to the Pan-Ukraine Military Congress called by the Central Rada, where he became acquainted with Symon Petliura. , 1915 . Ivan Kavaleridze, 1915 After the October Revolution, he ended up in Romny, Ukraine, where, according to the artist, he received his commission from the secretary of the Romny Revolutionary Committee (REVCOM) to construct the first fullsized statue of Taras Shevchenko. This story has its inconsistencies. At the , , � � ' , , . , ' . ' , . , , , 234 . 1925-1930 � - ( ). 1924 - ' ( ) . , , 1913 . Ivan Kavaleridze, 1913 (1930) "" (1930) , . , - . , 39, , , . , . , ' (1925) (1926) time of these events, the Bolshevik Red Army under Muravyov was battling its way toward Kyiv brandishing the motto, "Death to Ukrainians". The Red Army had been in control of Romny for nearly two months, throwing into doubt the assertion that a monument to a Ukrainian National Poet would be commissioned by the Bolshevik REVKOM stationed in the city. It is more plausible that the statue was commissioned by local Ukrainian organizations riding the wave of national support for Petliura. While working on the monument, Kavaleridze noticed stonemason Stepan Skurat, who later, in part thanks to Kavaleridze, would become a prominent Ukrainian actor by starring in nearly every Kavaleridze film. Following the establishment of the Soviet authority, Kavaleridze organized an amateur theater made up of railway workers -- and his new friend Skurat -- in Romny. Later Kavaleridze worked as the artistic director of a city theater, later heading the City Department of Education. In 1925-1930 he directed the Romny travelling theater of workers and peasants, modeled after the Railway Workers' Theater. 235 In 1924, in the town of Bakhmut, Kavaleridze created one of his finest works -- a monument to Artyom (Fyodor Sergeev) in the cubist aesthetic. The monument was destroyed in the war, but its image is preserved on film in the final scene of Kavaleridze's Perekop (1930), where it stands as a symbol of the triumph of the proletarian revolution. That same year, Kavaleridze moved to Kharkiv, then the Ukrainian capital, where he worked as artist-sculptor at the newspaper Communist. He received an apartment at 39 Pushkin Street in the same house of other local journalists, including Oleksandr Dovzhenko, Yurii Yanovsky, and Mykola Bazhan. It is apparent that from this time Kavaleridze joined the Kharkiv literati and artistic circle. . ' , 1924 . Ivan Kavaleridze. Artyom Monument in Bakhmut, 1924 Shortly after, Kavaleridze opened his own studio where he created monuments of Shevchenko in the cubist style for the cities of Poltava (1925), and Sumy (1926), as well as the 27-meter monument to Artyom in 27- ' (1927). 1920- . - . 1927 , ( ), , . � ( , 1927) , � , . 236 , ��: , , , , � . , , . . ' , 1927 . Ivan Kavaleridze. Artyom Monument in Sviatohirsk, 1927 - � : . (1930) , . ' . : , , . Sviatohirsk (1927). As a sculptor, Kavaleridze tended towards symbolism and impressionism in his early work, and a synthesis of cubism and constructivism in his more monumentalist work of the 1920s. His later creations are inclined more towards expressionism. In 1927, Zynovii Svidersky, deputy-head of the All Ukraine Photo-Cinema Administration (VUFKU), and an acquaintance from Romny, invites the artist to Odessa Film Studio to work as a film director. Kavaleridze's first film Downpour (Etchings in Haidamak History, 1927) was inspired by the Les Kurbas theater production of the play Haidamaky, drawn from the works of Taras Shevchenko. Kavaleridze's Downpour was a bold avant-garde experiment, an attempt to wed cinema and sculpture. Kavaleridze experimented a great deal with light, which served him a kind of "celluloid chisel." In-studio night scenes with washed out silhouettes of actors against a black velvet backdrop, resulting in a lulling, sluggish movements, and a geometrically defined set, fired the imagination of his contemporaries. The film provoked surprise, rejection and impassioned discussion; the reaction similar to that received by Dovzhenko's Arsenal. 237 The filming of Downpour produced yet another brilliant director-operator tandem in early Ukrainian cinema: that of Ivan Kavaleridze and cinematographer Mykola Topchii, who would shoot all of Kavaleridze's most distinguished films. . (1927) Kino Magazine cover. Ivan Kavaleridze's Cloudburst (1927) poster In Perekop (1930), his next film, Kavaleridze moved away from attempts to synthesize film and sculpture; working instead in what is an untested genre for him -- that of the epic -- and achieving fascinating results, when viewed historically and philosophically. What the film lacks in logical sequencing, it more than makes up for through its poetic imagery, acquiring a profoundly symbolic quality. The innovative work of Mykola Topchii in Perekop deserves special mention here, as the cinematographer employed surprising camera angles, close-ups and panoramas, alternating deliberate and accelerated storytelling. (1931), , , , , . 1931 , 17 . - , , �� , � �. 1934 238 , 1936 , , (1930) Still from Ivan Kavaleridze's film Perekop (1930) . : . ' , �- �, , , . . , , , � , , . � �. Kavaleridze's next film Stormy Nights (1931) -- the story of the construction of the Dnieper Hydroelectric Station -- was nothing more than middling industrialization propaganda, and a waste of an excellent acting ensemble. In 1931, Kavalirdze filmed his first sound film, Koliivshchyna. Under pressure from the Communist Party apparatus, Kavaleridze altered the film's plot seventeen times. This well-made drama of the history of the Revolution was filmed employing the principle of associative cuts, and was marked by a distinct symbolic language. The film was initially well-received; declared "necessary" for the nation. However, it soon fell under sharp criticism for its "formalism and naturalism". In 1934, Kavaleridze moved to Kyiv's Ukraine Film Studio (UkrainFilm), where in 1936 he filmed his most distinguished work Prometheus, with a screenplay drawn on Taras Shevchenko's political poem Caucasus. The heroic uprising depicted in the film irritated Stalin so greatly that the film wasn't allowed to be screened. Within the month, the Soviet press was filled with articles criticizing Kavaleridze, accusing him of a "vulgar sociological approach to the historical process", marked by the standard trio of "formalism, naturalism, and bourgeois nationalism". (1930) Still from Ivan Kavaleridze's film Perekop (1930) 239 From this point on, Kavaleridze was forbidden from making films which were concerned either with history or current events. The ban's design was particularly cruel. Ivan Kavaleridze: "When I first started working in film, I knew far ahead what the themes of my films would be. The themes that interested and excited me in my sculpture-work were those of history." In an attempt to work around the ban, Kavalirdze contrived , 1937-1938 - � . , . 1939 , , , . 1941 . . 240 . � , , � : , , 1930- . Ivan Kavaleridze, 1930s , , ' - , (, - ). , , , ' , ( , ). , , , (). to make film-operas. His 1937 Natalka Poltavka was loved by audiences as was 1938's A Cossack Beyond the Danube. These screen adaptations of Ukrainian theater classics starring leading opera performers of the day were made mostly in-studio, and marked by the lyrical landscape-rich prologues and interludes similar to Dovzhenko's Earth and Ivan. In 1939, during the mass executions of the Ukrainian intelligentsia, Kavaleridze worked on the propaganda short Pleiades in an attempt to establish his loyalty to the State. In 1941, he left on a film expedition to the recently occupied western Ukrainian territory in order to make A Song about Dovbush. During the filming, the German Army invaded the Soviet Union and the film crew found itself on Germanoccupied territory. In his official biography, Kavaleridze writes about the severe difficulties the crew faced while crossing the devastated Ukrainian landscape traveling back to Kyiv. However, in his memoirs entitled, On a White Horse � On a Black Horse, Ukrainian writer and Volyn newspaper correspondent Ulas Samchuk relates the story with somewhat less drama. The film crew was indeed arrested in Rivne, where the general staff of German Eastern Front was located at the time. Shortly after some clarification of the circumstances, however, the crew was released and provided with suitable accommodations and a respite (apparently with help from local representatives of the Ukrainian Nationalist Organization led by Andrii Melnyk ("the Melnykivtsi"). In a further development, Ulas Samchuk married Kavaleridze's assistant Tetiana Prakhova, visiting her in German-occupied Kyiv, and using the opportunity to make contact with Ukrainian intelligentsia Oleh Olzhych, Olena Teliha, who had just returned to Ukraine from emigration. Ivan Kavaleridze at the shooting area, 1930s , 1930- . 241 1942 , () , , , . . � � , , ' . (1959) (1961) . 242 1960- , , � �, ��, . 1960- , , ': , , , (1961) Romanian poster for Ivan Kavaleridze's film Whore (1961) , ( , ' ). 1977 90- � ' . 1923 ' (1996) ' (1997) . " , . , . ... . ." Upon his return to Kyiv, Kavaleridze headed the Art Committee of the Kyiv City Administration, a self-governing civic body administered by the Melnykivtsi. Kavaleridze made a series of unsuccessful attempts to re-establish film production in Kyiv. By early 1942, the City Administration was able to renew access to electricity, food supplies, public transport, also establishing a number of cultural institutions and publications. Sadly, the Gestapo soon arrested the Administration head Volodymyr Bahazii, executing him together with several other representatives of the Ukrainian intelligentsia at Babyn Yar. After the war, Kavaleridze was ostracized for living on Germanoccupied territory and "collaboration with the occupying authorities". He was forced to move out of his apartment and some of his sculptures were destroyed. Only after Stalin's death was he again able to join the Kyiv Film Studio. In 1959, he filmed Hryhorii Skovoroda a biopic on the life of the prominent Ukrainian philosopher, and Prostitute (1961), based on the Panas Myrny novel. In the 1960s, after Nikita Khrushchev labeled his sculptures "horrible cubism", Kavaleridze is, once again, in disgrace and receiving unofficial "dissident" status among the liberal Ukrainian intelligentsia. At the end the 60s Kavaleridze stepped away from film, and focusing instead on dramaturgy, he created a string of plays: Perekop, Votan's Sword, The First Furrow, and Hryhorii and Paraskeva. The plays are staged all over Ukraine, but not in Kyiv, where Kavaleridze's work had been banned. , 1970- . Ivan Kavaleridze, 1970s 243 In 1977, the 90-year-old Kavaleridze set about creating his last sculpture work: the monument to Hryhorii Skovoroda that stands today in Kyiv's Podil. Following Ukrainian Independence, Kavaleridze monuments to Princess Olga, destroyed in 1923, and Yaroslav the Wise, (based on his drawings, bronze), were unveiled in 1996 and 1997. "Details can be lost but the overall sensation lingers. The beauty of life, and of a unique moment in time. And... joy. The joy of coming face to face with art." IVAN KAVALERIDZE 17 1905 � 1973 ., i . ' , , , , , . � � �, , . , , , , 244 . 1925- , 1924 (), () ( ). , 1950- . Mykola Topchii, 1950s 1929 1934 . 1927 . - � , . , , . , ' , , , - MYKOLA TOPCHII CINEMATOGRAPHER 17 DECEMBER 1905 � 1973 One of the outstanding Ukrainian cameramen of the twentieth century, and, alongside Danylo Demutsky, a pioneer of the Ukrainian cinematographic school. Topchii was born into a middle-class Kharkiv family, but raised in Mykolaiv in the family of his grandfather, Tymofii Mykhailovych, a well-respected resident of the town and merchant of the upper guild. The boy was born with a cleft palate and his grandfather busied himself taking him from one clinic to another for treatment. Finally, he sent his daughter-in-law with the boy to Berlin where he underwent a series of complicated surgical procedures resulting in a platinum plate being inserted into the child's palate enabling him to speak. Later, after graduating from the Mykolaiv Gymnasium, Mykola held jobs in a statistical bureau, as an unskilled laborer, as the secretary of a village council, and in district oversight committee for poor farmers. Evenings, he took vocational-technical courses and attended agricultural classes. In the summer of 1925 he attempted to enter the Odessa Film Technical College, founded in 1925 by All Ukraine Photo-Cinema Administration (VUFKU), but only managed to be accepted to the technical (cinematographic) department a year later. During that year he studied at the agronomic faculty of the Odessa Agricultural Institute. 245 In 1929, Topchii completed film technical school, remaining in Odessa to work at the Odessa Film Production Studio until 1934. He made his debut as a cinematographer in the 1927 film, Duel. Having graduated from film school, Topchii enrolled in a cinematographic practicum, participating in the filming of Downpour, the directorial debut of the budding film innovator, Ivan Kavaleridze. The camerawork for the film was handled by masterful Ukrainian cinematographer Oleksii Kaliuzhny. Kavaleridze dubbed his film "an etching". An original, bold attempt to transfer the fluid art of sculpture onto film, actors stood frozen in strained postures, crowded into a set of three-dimensional geometric figures against black velvet backdrop. Intense lighting "chisels" the figures, transforming them into lifelike high-relief, their elasticity evoking a sense of unprecedented . - . - : � . , (1930), (1931), (1936). , , , , , . , , , . - , 246 . (1933) . . 1930- � . (1930), , , (1930) , (1931) -, 5 (1939) (1940) (1940). 1935 , . , . dynamic psychological tension. Misunderstood and heavily criticized at the time for its extreme aesthetics, Downpour is considered today to be a singular work of avant-garde Ukrainian cinema. Moreover, Downpour, along with Dovzhenko's Arsenal, mark the arrival of an inspired worldclass master of cinematography -- Mykola Topchii. It was on the set of Downpour that the extraordinary director-cinematographer tandem of Kavaleridze & Topchii was formed. The two cooperated further on the masterpieces, Perekop (1930), Koliivshchyna, and Prometheus (1936). While filming Perekop, Topchii uses modeling light with sharp foreshortenings to increase the expressiveness of gestures, motion, and characters' expressions; rendering their poses sculpturesque and creating the visual equivalent of sculptural plasticity. Employing graphic sharpness, symbolism, and landscapes to capture the psychological pattern in nature, Kavaleridze and Topchii pushed innovation in the direction of an entirely new, expressively dynamic mode of composition. Chiseling character close-ups with light, they revealed the internal development of dynamic action in otherwise visually static scenes. (1936) Still from Ivan Kavaleridze's film Prometheus (1936) 247 The Kavaleridze-Topchii collaboration reached its height in the folk epic historical film Koliivshchyna from 1933, which was based on the work of Taras Shevchenko, especially that of his poem Haidamaky. In this film, Kavaleridze and Topchii create a dynamically-charged, expressive portrayal of the leaders of the folk uprising. The 1930s were the most creative years in Mykola Topchii's career. Besides the commissioned propaganda film Stormy Nights (1930), he also filmed The Heat of Revenge (1930), directed by Dmitri Erdman, Wolf Ranch (1931), by Oleksandr Stryzhak-Steiner, Squadron Five (1939) and Wind from the East (1940), by Abram Room, as well as the adventure melodrama Fighter Pilot (1940), by Eduard Petslin. , , , , 1937 , ��. 1941- , . , . , , , , 248 , . . , 1940- . Mykola Topchii, 1940s - , 1945 . , , 1956 - . 1957 , , 1958 , (1958), (1959), (1961), (1961) (1963). In 1935, Mykola Topchii worked with director Mikhail Karostin on a screen adaptation of Mykola Gogol's The Government Inspector. UkraineFilm had commissioned Mikhail Bulgakov to write the screenplay. The author was forced to re-work the text four times under pressure of the studio censorship committee, finally satisfying them with a version that bore little resemblance to his original script. Actors appearing in the film include Sergei Martinson, Hnat Yura, and Natalia Uzhvii. Filming was halted in 1937 after Dovzhenko's speech in the Moscow House of Cinema (Dom Kino) where he accused Karostin of formalism. In the spring of 1941, Mykola Topchii and film directors Vitalii Kuchvalsky and Volodymyr Ihnatovych traveled to Drohobych, Ukraine to film Ivan Kavalerize's screen adaptation of the Ivan Franko novel, Boryslav Laughs. When the war overtook them during filming, Topchii returned to occupied Kyiv working at Kyiv Film Studio where the Germans were making plans to revamp film production. It is plausible that Ivan Kavalerize, head of the Kyiv City Administration Cultrual Department during the occupation, recommended Mykola Topchii for jobs. The cinematographer began receiving commissions for films and documentaries like, Kyiv: Marred by the Bolsheviks, and the propaganda feature, Halia Goes to Germany, depicting compulsory Ukrainian labor in Germany in a positive light. Both films were quite popular in occupied Kyiv. 249 After the Red Army retook Kyiv, Topchii worked for a month and a half at the documentary film studio until his arrest in 1945. He was accused of counterrevolutionary activities and high treason, and subsequently sentenced to 10 years in the Gulag. After the death of Stalin in 1953, Topchii was granted early release, rehabilitated, and returned to his work as a cinematographer at Kyiv Film Studios. In 1957, Topchii shot the comedy Stepsel Marries Tarapunka which starred two popular Ukrainian stand-up comedians, Yefym Berezin and Yurii Tymoshenko. That same year, with Mark Donsky directing, he filmed At a High Price, distinguished by the British Film Academy as their best foreign film of 1958. Topchii's last films include Lilea (1958), The Milky Way (1959), On the Wings of a Song (1961), Girl's Years (1961), and Yelena Bay (1963). - 22 1899 - 21 1980 -, . . 1913 , ' , . ( -- ) 1916 , "" . 1921 . 1922 ( � 250 , ). 1925 - -- -, . (), ' , 1960- . Hryhorii Dovzhenko, 1960s , . 1927 . 1928 1920- � , , , , , . , 600 . HRYHORII DOVZHENKO ART DIRECTOR 22 APRIL 1899 � 21 APRIL 1980 Hryhorii Dovzhenko was a famous Ukrainian monumental artist, a member of the Boichukist school. He was born in the village of Poltavka in Kherson Governorate (now Mykolaiv Oblast). In 1913 he graduated from Poltava zemstvo school, after which his family moved to Kazakhstan where his father worked in agriculture. In Akmolinsk (now Astana) in 1916, Hryhorii Dovzhenko attended the Courses of Fine Arts, where he studied realistic painting with teachers of The Itinerants sort. In autumn 1921 the Dovzhenko family returned to Ukraine . In 1922 Dovzhenko entered the Odessa Polytechnic Fine Arts School (later the Art Institute, the workshop of Professor Daniil Krainev). In 1925 he was transferred to the Department of Monumental and Decorative Art, to the workshops of Professor G. Komar, who was an artist of Boichukist school and a specialist in Renaissance painting. After that Dovzhenko entered the Association of Revolutionary Art (ARMU), a society of artists who shared theoretical views of Mykhailo Boichuk on the development of monumental art. 251 In 1927 Dovzhenko won a contest of sketches and together with Professor Komar painted a room of Odessa Eastern Chamber of Commerce. In 1928 he took part in the largest and most ambitious project of Boichukists during the 1920-is: painting of Peasant Sanatorium on behalf of Central Executive Committee of Ukraine (VUTSVK) in Khadzhibey Estuary near Odessa, where he painted plafond, cartouches, fresco framing, portals and windows. The ensemble of frescoes in the lobby and club hall of the Sanatorium consisted of large thematic panels, portraits and ornamentally decorated area of 600 square meters. Performing this work Dovzhenko got acquainted with Mykhailo Boichuk. In 1929 Dovzhenko together with Borys Gurvich painted several meters long tempera mural in the auditorium of Press House named after Mykhailo Kotsiubynsky in Odessa. Simultaneously, the artist created easel paintings in a typically Boichukist style. . , , 1930 Hryhorii Dovzhenko. A woman crossing the field, fresco, 1930 . 1929 . . 1930 . (1930) . , , , , , , . , 252 , . , 1936 . . , , 1978 Hryhorii Dovzhenko. Drawing for the portrait of Lesia Ukrainka, fresco, 1978 , "" . - : , , , , - . 1970- , , -- , , . In 1930 the artist joined the work at the Odessa VUFKU Cinema factory. He played a cameo role in the film The Museum Guard (1930) by Borys Tiahno and performed art direction of the films Perekop by Ivan Kavaleridze and Parental Right by Vera Stroeva. While working on Perekop, some scenes of which were shot in the dark, Dovzhenko's monumental vision coincided with a cubist monumental style of Kavaleridze giving birth to such impressive scenes as army's transition through Syvash, where soldiers standing knee-deep in the icy water held the bridge on their shoulders. The scene filmed in a dark stage was lit by moving rays of spotlights, and accumulation of bodies gained unprecedented bas-relief monumentality. 253 In almost a year Dovzhenko was invited to teach at Kyiv Art Institute where he taught until 1936. In the height of repressions against Ukrainian intelligentsia and physical extermination of the leading representatives of the Boichukist school led by Mykhailo Boichuk, Dovzhenko moved to the position of officially proclaimed socialist realism and created easel paintings dedicated to ideologically relevant topics in The Itinerants aesthetics. Hryhorii Dovzhenko. Drawing of mural of Odessa Eastern Chamber of Commerce, 1927 . , , 1927 After the war, he performed monumental decoration of public buildings throughout Ukraine: the village of "Budivelnyk" in Dnepropetrovsk, Palace of Culture in Nova Kakhovka, Donetsk, Kyiv, Music and Drama Theatre in Rivne etc. In the 1970s, Dovzhenko returned to historical themes using to the technique of mosaics and classical frescoes, and in his easel paintings he painted intimate portraits, landscapes and still life in a tempera technique. () 9 1896 � 12 1938 , � . 1900 , , , - . . , , � . . ( � ). . . 254 1920 45- , � . , 1922 . , 1920- . Stepan Shahayda, 1920s , , , , , 14-69 ' , . 1924 . 1926 -, 1927 . � : ( � 1929), ' STEPAN SHAHAYDA (SHAHAYDYN) ACTOR 9 JANUARY 1896 � 12 JANUARY 1938 This prominent Ukrainian stage and screen actor was born into the family of Vasyl Shahaydin in the village of Biloholovy in the greater Lviv region. The Shahaydins were, by their own telling, Hungarian immigrants. In 1900, the family moved to Bosnia, which, like Galicia (Western Ukraine), was part of the Austro-Hungarian Empire. There in the village of Devetyna, Stepan completed primary school and sang in the church choir. The Bishop of Lviv traveling through Devetyna, was impressed by the boy's voice and urged his parents to send him back to Lviv where he could join the choir at St. George's Cathedral. Once back in the city, Shahayda sang and the choir and served the bishop. According to a story told by film-director Oleksii Shvachko, the bishop was none other than Andrii Sheptytsky. Sometime later, taken ill, Shahayda was placed into the care of the monks at Pochayiv Monastery for treatment. At the monastery the boy returned to health and studied the basics of iconography. 255 In 1920, Sahayda was enlisted in the 45th "Red Flag" Division of the Red Army -- the division which provided financial support to avant-garde theater director Les Kurbas's Kyiv Drama Theater. As an actor in the division's amateur theater troupe, Shahayda became familiar with the Kurbas theater and, in 1922, shortly after the armistice, joined the fourth workshop of Kurbas's recently established Berezil theater. There over the course of six seasons, he acted in performances of George Kaiser's Gas, Upton Sinclair's Jimmy Higgins, Mykola Kulish's Commune on the Steppe, Prosper M�rim�e's La Jacquerie, Prologue by Les Kurbas and Stepan Bondarchuk, Armoured Train 14-69 by Vsevolod Ivanov, and Victor Hugo's The King's Fool. In 1924, Shahayda made his film debut in the Kurbas short Vendetta. Then, in 1926, he appeared in the directorial debut of Oleksandr Dovzhenko, Vasia the Reformer, and already in 1927 got his first major film role in A Man from out of the Woods by the eminent Heorhii Stabovyi. In 1929, the actor received minor roles in Stabovyi's The Pearl of Semiramis and Oleksandr Perehuda's Death Loop; following these up with four 1930 films: Five Brides by Oleksandr Soloviov, Perekop by Ivan Kavaleridze, The Museum Guard by , , , ( � 1930). 1928 1935 . 1931 , - . 1931-1932 , , � , , 5 , � . 1932 (1932), . , , , � �, �� . , 256 , 1934 . 1935 ( . .. ), . - ( � 1934) . - , , . 1937 ' . , , , , 19 1937 � � � � . 16 1938 . Borys Tiahno, and Stabovyi's They Stop You From Going. From 1928 through 1935, Shahayda worked exclusively in film. In 1931, director-innovator and Kurbas colleague Faust Lopatynsky offered Shahayda the lead role of Ustym Karmeliuk in his film Karmeliuk. This followed in 1931-32 with lead roles in Solovyov's The Front, Pavlo Dolyna's Guard!, Faust Lopatynsky's Elevation Number Five; all shot as run-of-the-mill propaganda films promoting collectivization and industrialization. In 1932, Shahayda was offered to play in Dovzhenko's Ivan (1932); a film celebrating the achievements of the industrialization of the country. Dovzhenko participated only reluctantly in the project which took place at the nadir of the Ukrainian forced famine of 1932-33. Sensing the noose of repression tightening around him, Dovzhenko made the film, nominally maintaining the party line, and effectively answering the accusations of "nationalism" raised against him. The film was able to overcome its ideological bias largely due to the camerawork of Danylo Demutsky and Yurii Yekelchyk, and resulted in a Dovzhenko-crafted avant-garde masterpiece. Ivan was well-received in the west, taking the Venice International Film Festival by storm in 1934. 257 Shahayda returned to the theater at Kharkiv's Shevchenko Ukrainian Drama Theater in 1935, while continuing to maintain his film work. In 1934, he followed up minor roles in Arnold Kordium's The Final Port, and Hryhorii Hrycher-Chernykover's Crystal Palace with the lead role in Dovzhenko's next film, Aerograd. This revolutionary utopian adventure film shot in the primeval forests of the Soviet Far East is imbued with the lyrical exoticism and rapturous beauty of that remote world. In 1937 Shahayda appeared in the musicals The Wealthy Bride by Ivan Pyryev, and A Cossack Beyond the Danube by Ivan Kavaleridze. , 1930- . Stepan Shahayda, 1930s On October 19, 1937, Stepan Shahaydan was arrested on the territory of the Kiev Film Studios where he made his home. Whether the arrest came because of his highly critical opinion of the Soviet government which he never concealed, or in an attempt to psychologically destroy his good friend Oleksandr Dovzhenko, it is not known. The actor was charged with "bourgeois nationalism" and "anti-revolutionary activities" and sentenced to death by the NKVD. Stepan Shahaydan was executed on January 12, 1938. 24 1899 � 16 1986 . 1921 - , 1921-1923 - . 1923 ... , , , 1929 � . 1930 . . . ( 258 � 1931), . 1930- , , , . 1936 . , , 1950- . Ivan Tverdokhlib, 1950s , , , . , : (97), ( ), ( ), (), ' ('-). , 1930- . 1950- . � (1957), 1958 . IVAN TVERDOKHLIB ACTOR 24 APRIL 1899 � 16 OCTOBER 1986 Distinguished Ukrainian actor of stage and screen, Ivan Tverdokhlib was born in 1899 in the village of Dovzhyk in the Kharkiv region of Ukraine. As the Civil War drew to its close in 1921, the fledgling actor was dispatched to "club instructor" courses where, from 1921-23, he attended lectures from the likes of Yakiv Mamontov, Ukrainian author and playwright, as well as director-innovator Les Kurbas. Following graduation in 1923, he left for Kharkiv's Shevchenko National Theater, working along the way at theaters in Kyiv, Kremenchuk, Kharkiv. In 1929 he began acting at the Odessa State Drama Theater. In 1930, Tverdokhlib left the theater, devoting the next six years to working in film, his debut coming in a walk-on role in Oleksandr Solovyov's Days of Ruin. Already by his second film, Ivan Kavaleridze's Perekop (1930), he was being handed leading roles. He subsequently starred in the noted director's next two offerings, both from 1931, Night Storms, and Koliivshchyna, the latter notable as an early achievement in Ukrainian sound film. During the 1930s, Tverdokhlib acted in fourteen films, usually in minor roles. In 1936, Ivan Kavaleridze again invited the actor to take part in what would become his most celebrated work, Prometheus. The film, shot by Kavaleridze as an epic family saga, boasted an outstanding cast, peerless camerawork, and an absorbing plot, and is rightly included among the masterworks of the Ukrainian cinema of the first half of twentieth century. Following Prometheus, Tverdokhlib returned to Odessa State Drama, where he became a leading character and comic actor. His roles from the period include the steward Malfolio in The Twelfth Night, Pantalone in The Imposter, Don Pedro in Don't Joke About Love, and Tevye in The Milkman Tevye. It seems evident that Tverdokhlib was either victimized by the political repressions of the 1930s or actively blacklisted from making films, thus vanishing from the industry for a time, only to reappear in the late 1950s. His most important role from the later period is that of Ivan Kotyhoroshko in Mark Donskoi's At a High Price of 1957. The film was honored by the British Film Academy as its best foreign film of 1958. , 1910- . Ivan Tverdokhlib, late 1910s 259 II , . 1924 ( ). � (1924), , . 1925-1926 . , , 1925 260 , . 1926 (1926), ( � 1927 ), (1929). 1928 (1929) . , 1930 , (1930) Oksana Pidlisna in Ivan Kavaleridze's Perekop (1930) , , , � . 1931 - . , , , , . - (1933-1935) , �� . 1930- . OKSANA PIDLISNA ACTRESS DATES UNKNOWN Ukrainian and Russian film actress who appeared in eighteen films. In 1924, she was part of the inaugural graduating class of the Odessa State Film Institute (VUFKU). She made her screen debut in the 1924 Les Kurbas short, Vendetta, which was included in the first edition of the cinema newsreel Flywheel along with another of her films, Aksel Lundin's Black Gold. In 1935-36 she appeared in a short film by Ukrainian cinematography pioneer Petro Chardynin, The Inventor, and two full-length feature films by Panteleimon Sazonov, Dymivka, and In the Claws of Soviet Power. The actress evidently married Odessa Film Production Studios (VUFKU) film-director Lev Sheffer. In 1925, when Sheffer was transferred to SovKino in Moscow, Pidlisna accompanied him. From 1926, she was making films for Russian studios GosKino and Moscow Film Studios SovKino, taking lead roles in Sheffer's films The Wind (1926), Charita, the Beauty, The Road to Damascus, (both, 1927), and At the Turning (1929). In 1928, Pidlisna took a supporting role in Marko Tereshchenko's Little Woman, Huge Grief. In 1930 she evidently returned to Odessa where she took mostly minor roles in films such as Volodymyr Solovyov's Days of Ruin, Ivan Kavaleridze's Perekop, Vasyl Radysh's I Give You..., and Grigori Roshal's Small Town Man. (1930) Oksana Pidlisna in Vasyl Radysh's film To You I Give (1930) 261 In 1931, the actress played in two Aaron Strizhak-Steiner films, Wolf Ranch, and The Star-Wearers, as well as Chanan Smein's Bon Appetit! These films starred notable Ukrainian actors like Amvrosii Buchma, Mykola Nademsky, Marian Krushelnytsky, and Petro Masokha. Oksana Pidlisna had certainly attained the upper echelon of actors from Odessa Film. Her final role came in the banned historical-revolutionary film The Last Night (1933-35) of Mykhailo Kapynsky, who produced Sergei Eisenstein's Battleship Potemkin. In the mid-1930s, the actress film victim to Soviet political repression. 262 , , -, 2004 . Fragments Of Sleep Laridae, , " ". Art Fraud 5 2008 . -, , Film Fest (), - This will destroy you, Swod - . 2010 , (1923) - . 263 2SLEEPY Formed in 2004 by Seva Solntsev and Andrii Prokopenko, the duo 2Sleepy has become of the more successful Ukrainian independent electronic projects with its winning mix of electronic and pop elements in its music. Its debut album Fragments of Sleep on the Austrian Laridae label was well-received by critics and public alike, earning the boys the moniker "the hope of independent Ukrainian electronic music." Their follow-up album, Art Fraud, made Glavred magazine's list of the Top-5 Ukrainian albums of 2008. The group has played internationally at the Koktebel Jazz Fest, Detaly Zvuku, and Film Fest in Bulgaria, appearing with American post-rockers, This Will Destroy You, the German project Swod, and the icons of Russian synth-pop Delphin. In 2010, 2Sleepy completed its Ukrainian tour performing at the Mute Nights festival where they accompanied Robert Wiene's 1923 expressionistic drama Raskolnikow. 264 I PSYCHOLOGICAL DRAMA 265 - . , 1920- , , . , , , . . , � : . : . , , , . , , 266 ( ) , . � . , -, � � �. , � � - . . , � . , - ', . , , , 1931 . () � , , '. . , , , ��. . � , , - , , . - TWO DAYS � THE NIGHT COACHMAN REVOLUTION: ON THE RUINS OF A HUMAN LIFE LARYSA BRIUKHOVETSKA It has long been acknowledged that the films of Ukrainian directors in the late 1920s, namely, those working during the period of Ukrainianization and the artistic renaissance, differ markedly from those of their Russian contemporaries. This discussion has typically centered on a thorough examination of the distinctions between the films of Oleksandr Dovzhenko and those of Sergei Eisenstein; while the lessons to be learned from the films we will address in these paragraphs have largely been ignored. One of the chief distinctions between Ukrainian and Russian film of the period lies squarely in their interpretation and depiction of the Bolshevik Revolution. Clearly, a negative parsing of those events was not at issue: that would have been impossible at the time. The real difference in the film-making lies in the character of that interpretation. In Russian cinema, the Revolution follows a strict Marxist line: the emancipation of the exploited masses. The victory of the masses is underscored by close-ups of isolated faces, serving to further emphasize the commonality of all; and, in this manner, the totality of the ascendency of revolution and with it, the defeat of the enemy, is declared. Ultimately, critics discovered a certain esthetic appeal in all of this; that among the masses (of those governed by the Bolsheviks), there would be no doubts, no wavering uncertainties. Just one monolithic mass. The personal life of the individual should have no meaning; as the poet-tribune declaimed, "ane is null." Russian film directors were uninterested in what the Revolution might hold in store; the answer to that was, already, exhaustively defined in the "one, true" Marxist-Leninist doctrine. For the Russian filmmakers, their moment of truth had been in the ascendency of that mass. 267 In Ukrainian film, the Revolution is shown as a given, an accomplished fact: bereft of all celebration. The Ukrainians painted the Revolution as a drama that divided, and ultimately ruined, families. They depicted the transformation of brothers into enemies as in Yurii Yanovsky's novel Four Swords from 1931. Or Mykola Khvyliovyi's, I: Romantic, which places the most sacred concept of all -- that of the mother, (though, in this instance, a mother sent to her death by her own son in fulfillment of his revolutionary duty) -- in the balance. Cinema was also deeply involved in urging the necessary disintegration of the family at the behest of ideology. Directors searched for novel approaches to dramatic conflict in , , , , � ( New York Gerald Tribune, 1928). � , . , , , , . , , : , , , . , , . . . , . 268 : , , , , . , : , , . . , , �� ��. , �� � , - . , . . , , , , . , . , , , . - order to illustrate the response of an individual family to the events at hand. Foreign critics paid close attention to this trend in filmmaking. From the New York Herald Tribune, 1928: "One senses the spirit of realism, a persuasive seriousness, and gloomy force in Two Days. It is unquestionably impressive; differing from every other Soviet film we have seen so far. And at its tragic core we do not find the mass, but rather the individual." This peculiarity is easily explained by differences in the viewers, east or west. For those in Ukraine, the filming of the Revolution was tied to the purpose of convincing him of its inevitability. It's difficult to say whether Solomon Lazurin's screenplay was based in fact, but the story told in the film is plausible enough. Or, at least in the plot's treatment of the father who loses his son twice: first to the Bolshevik Reds, and finally, in death, to the Whites. Director Heorhii Stabovyi, cinematographer Danylo Demutsky, both making their debuts in film, as well as lead Ivan Zamychkovsky, were moved by the screenplay and interpreted it with a palpable intensity. Demutsky entered cinema coming from the world of artistic photography, and his grasp of shadowing was not merely academic. Ivan Zamychkovsky, an experienced actor of the Odessa State Ukrainian Drama Theater, had acted in film before; starring in the films Hamburg, Suspect Baggage, Taras Shevchenko, Love's Berries, and Jimmy Higgins. He succeeded in the film not only because of his experience, but as a result of his personal identification with his character. Kino magazine reported that the actor had lost a son during the Russian Civil War in circumstances similar to those in the script. 269 The film's spare title foreshadows an even sparer story, taking place in a single location and encompassing two days. The home of a landowner where Antin, the servant, is beset by opposing White and Red soldiers. Antin manages to save the life of the landowner's son, but is only able to watch as the Whites, indifferent to his entreaties, lynch his own son, Andrii, a Red (Bolshevik). Antin avenges his son by setting fire to the home. Critics were impressed by the growth of the lead character. Soviet film historians also reckoned this to be the ultimate value of the film, especially as it dealt with a common man, initially disinterested in the events surrounding him, but who in the end chooses the path of revolution. Though involuntarily drawn into the bloody conflict, his transformation resonates with authenticity. This "path to revolution" plot development is not difficult to identify, as in the shot of the dog digging up a strong-box hastily buried , � � : , , . , . : . , ! � , , . : , , , �� � , . , , , . : , , . , . . : , , : 270 ��, . � . . , , - . ? . � , . , . , ' , : . , , . , . . . , . � . , . , by the landowner. This treasure-filled box now uncovered unleashes a tragic chain of events: wrath of young landowner, his denunciation of his servant's son Andrii, the lynching of Andrii, and finally, Antin's revenge. Filming sequences were meticulously designed, if stripped of context. Ignorant of any back-story, we're required to trust what is put before us. Eighty-four years have passed and we are still trusting what is in front of us in this film. Our own perceptions and take on the film, especially when compared with those of the Soviet critics, have been radically altered. The filmmakers held that a positive portrayal of the Bolshevik forces was their primary objective, the Whites serving as the blood-thirsty foil. Antin is intended as a sympathetic figure; a man trapped who must find a way out. An unjaundiced take on those events would argue that for the ordinary person living an ordinary life at that time, the revolution was a calamity. Only the most irresistible force can dislodge a man from the inertia of his everyday existence. For the film's protagonist, this force was the death of his son. It is evident that the Civil War, with its rapid shifts in direction, often stripping families of children drawn to the Red side, brought about this level of change; but along with it, also the apolitical outlook of those who lost their sons and daughters in the conflict. This situation is emblematic of the times (and the films), as we are reminded in the character "Vasyl" in Oleksandr Dovzhenko's Earth. 271 Revolutionary apologists actively undermine a fundamental morality; in Two Days, the character Antin, in a moral act, rescues the landowner's son. And how is this treated in the film? By showing that it is Antin's own morality that opens the way to his suffering. The landowner's son is a class enemy, not fit to be saved. The film continues to provoke interest, eliciting heightened emotion whenever it is shown: tension arises from the archetypal treatment of a son in peril and a treasure at risk. Concealed loot and a man in hiding. Landed nobles unable to secure their wealth, but a servant, Antin, fully capable of protecting the heir during the search of his room conducted by his own son, the traitor. One may reasonably assert that during the first decade of Soviet authority, a person of intelligent appearance could often be identified as "the enemy." In the film: White officers, seated around the supper table. The next day fortunes have changed and . , , , , . , , . . . . � . , , , � ( World, 1928). � . , , , . , . 272 -, , , ', . , . . , . , . . . � , , . , , , . , . , . � . , , , . the landowners' homes are filled with an entirely different sort of company. The heir denounces the commissar Andrii, his own servant's son, sending him to his death. Anton closing up the house, doors and windows locked, setting the house on fire. The landowners have brought this revenge on themselves, despising the trustworthy servant, sealing their doom. The conflict can be summarized by stating that the While Guard perished because it failed to appreciate the worth of those who stood by it in the fight against Bolshevism. Indefatigable Bolshevism. For every one sacrificed to the cause, another comes up in his place. The fire scene is masterfully filmed and edited. Zamychkovsky delivers his role with similar skill and emotional authenticity. The film was highly regarded by critics. World journal, 1928: "The film is an extraordinarily alive depiction of events in Ukraine. The acting was so intense, so non-theatrical, that we were forced to remind ourselves more than once that we weren't watching a newsreel, but a feature film." Amvrosii Buchma gives us a comparable victim with his strikingly natural portrayal of the sober-minded hostler, a common worker, Hordii Yaroshuk, who taxis folks about the city after dark in Heorhii Tasyn's The Night Coachman. He is devoted to the family idyll, nothing able to darken the joy he receives from life with his daughter. 273 After discovering an insurgent in his attic, and all the while trying to protect his daughter, Hordii discovers that his daughter too was actively preparing Bolshevik leaflets and posters. He then hands his insurgent guest over to the head of White Guard counter-espionage, and this results in the arrest of his daughter as well. The White Guard, evidence in hand, quickly puts the girl to death; her father himself driving her coach to the place of her execution. Unable to bear his guilt, Hordii swears to avenge his child against those responsible for her death. In the end, it is he who is punished for violating natural law: for betrayal, for wishing evil upon those who did not share his convictions. Just as in Two Days, the Revolution has played havoc with the life of a common man, leading him into sin, and its consequent penalty. In both films the work of the supporting characters is far less psychologically convincing than that of the leads. Ultimately, the filmmakers, tasked with demonstrating in their day how the inert commoner was dragged into the revolution, remind us all, in our own, of the tragic consequences of class hatred, and no less of Bolshevism. - �, - . ... , � - , , , 1930- . , : (1927) (1928). , , , . ? , - , : , ' '. , ' . , 274 , � , , , '. , , ' '. , , . � ', ' . ', , ' . , , � � ( ) . , . . , , , . � . , . , UKRAINIAN-STYLE REVOLUTION STANISLAV MENZELEVSKY "The film, dedicated to the events of the Civil War - a significant achievement of silent Ukrainian cinema. The impersonation of the protagonist is marked by deep psychological insight. ... The movie with a deep psychological analysis exposes the difficult fate of a man who was enthralled in the days of revolutionary struggle". These summarizing subtitles, added, however, only in the 1930s, can describe two films made at Odessa Film Studios. These films, which will be discussed further, are Two Days by Heorhii Stabovyi (1927) and Night Cabman by Heorhii Tasin (1928). Although both films were later criticized by some post-Soviet film critics as being too straightforward, propagandistic, and praising the Soviet regime, these are carried out in the modernist mode. What does this mean? The director of a historical film, which makes a claim to the adequacy of its social and cultural commentary, can work within two strategies: an epic one and a psychological one, an objective and a subjective. Both Night Cabman and Two Days are extremely subjective in terms of historical representation. The viewers do not see an epic drama of civil war or a clash of large-scale ideologies, nor do they see the causes and consequences of the revolution. To put it shortly, they do not see society as a whole; they only see particular, local conflicts within the family. On the one hand, this strategy is dangerous, since it substitutes objectivity with subjectivity. On the other, cinema has always positioned the viewers, reducing them to the point of view by the means of visual identification. Therefore, the filmic truth is always marked by radical subjectivity, but subjectivity mainly hidden. When the film becomes aware of its own subjectivity and projects it on screen, this refusal to simulate objective film discourse is in itself a microrevolution and a crucially important step. 275 Narratives of Night Cabman and Two Days are so similar that it is necessary to speak not only about psychological insight as a common feature of both films, but also about the postulation of a genre � be it subgenre � which can be described as a drama (or tragedy) of revolutionary metamorphosis. A wider known film Mother by Pudovkin inspired by Maxim Gorky's novel of the same name can serve as an example of this genre. Hordii Yaroshchuk, the protagonist of the Cabman, lives with his daughter Katya, a former employee of a printing house. The girl conceals her friend Borys who is a member of an underground organization. When her father discovers that, he decides to save his daughter from the dangers of collaboration with communists and tells a counterintel- . . . , . , -. , , , , , � , . , . , , , , . : . : - , , : 276 . , , , , , , , , , '. , . , , �� . , ' . . ' , . , , . �� , , � , , , , ' . � ', ligence officer about the hiding place. Ironically, the officer finds Katya instead of Boris during the search. The girl is being taken away and shot in front her desperate father. Two Days have a similar introduction. When the Red Army is about to enter the town, the estate owner, who retreats with the Whites, leaves his house under the supervision of a faithful servant, Antin. The young master, a college student gets lost at the railway station and returns back home. When the house settles a Red squad, led, again ironically, by Antin's son Andrew, who is a Bolshevik, the old doorman hides the boy in his room in the attic. Although Antin loves his son to distraction, he doesn't share his communist views. Next day the Whites come into town again, but Andrew receives an order from the command to stay for underground work. However, in a few hours the young master discloses the hiding place to the Whites, forgetting about the salvation provided by the janitor. Entreaties don't help the old man, and film climaxes with the scene in which his son is being hanged. The finals of both films are also similar. Haven lost their children due to the fraud of supporters of the old, pre-revolutionary order, both parents react in the same way: with an insight and a following revenge to the Whites. Whatever nationally oriented criticism claims, the revolution in both films is sincerely positioned as a traumatic event, which disrupts the everyday flow of life into BEFORE and AFTER, changing forever not only the social, political, and economic relations, but also the man himself, or, to put it broader, subjectivity. It is no coincidence that the films focus their attention on the representatives of the older generation, the generation BEFORE. Both Hordii the cabman and Antin the doorman had lived the longer part of their life before revolution, keeping due to the inertia of their minds the "slavish" way of thinking in terms of revolutionary consciousness. 277 In both cases the acceptance of revolutionary ideals becomes possible after the most shocking event in the characters' lives associated with a radical loss. The critical lack occurs after the death of a beloved child. Since family ties are postulated as a primary type of relationship in culture, the formulation of the conflict at the level of a family automatically ensures maximal intensity of affect. It is noteworthy that both children are from the very beginning strong Bolsheviks, which causes ideological disagreements with their parents. In both finals the Red children serve as a necessary sacrifice, which shows that the gap between old and new thinking is not the notorious parents/children conflict, but a new and global transformation, able to embrace the representatives of all generations and classes, if only they are willing to open their hearts to the subjective truth of the revolution. (, , ) . ' , , , , ' . � � , . � , . , , , . � , , , , . , � �, , . 278 . , , �� . � . , , 1920- , �� . , , , , : ,, � �, , �� , , , , , . <...> , , � , , , , ; �. (, ) ( ). , � Communism postulates the birth of a new man � a new subject that rejects all previous identities (national, family, gender) in favor of class solidarity. In both films family is treated not as an excessive identity towards a Soviet citizen, but rather as a critical factor, the catalyst of a revolutionary event, whereas the latter is understood as a subjective adoption of the revolutionary truth. The above-mentioned gap, that is transformation of the man, would not be articulated that well, but for the avant-garde nature of the filmic image. film history is traditionally the history of narrative cinema. The narrative is also a way to organize the visual field of the viewer, creating an effect of the omnipresent spectator with an excessive knowledge, who is located on a certain distance from the film. This situation has a pictorial analogue in Renaissance perspective. Starting from Renaissance, the picture positions the viewer so that he observes everything from a position which can be roughly named the position of God. This point of view, which creates the illusion of neutrality and the maximally distanced "external observation", creates preconditions for the viewers' convenience, as if offering a comfortable place from which to observe the unrolling of the plot. 279 The price to be paid for the comfortable illusion of omniscience is ignorance and blindness. Camera positions the spectator so that he gets caught in the narrative remaining blind to its artificial and designed nature, and becomes a "victim" of director's manipulations. The reality of classical narrative cinema is such that spectator's position is naturalized, which makes all attempts to resist ineffective. The politically engaged, avant-garde cinema, which flourished in the 1920s, treats the material and off-screen reality in a different way. The key figure for understanding of Soviet avant-garde is undoubtedly Sergei Eisenstein, who in his theoretical writings clearly describes the nature of the montage, when two pieces of film form a fundamentally new meaning: "To split the given "in itself", amorphous and neutral "existence" of an event or a phenomena in order to mount it together again, according to my views and attitudes, which derive from my ideology, my world-view. <...> In fact, the conscious reflection of historical and natural phenomena, as well as events, deeds and actions starts from that point, as opposed to passive reflection; and a lively dynamic mage is being formed as opposed to passive reproduction". The passive reproduction of hegemonic (pre-revolutionary, anti-revolutionary) discourse distinguishes protagonists of both examined films before the Event (death of the children). The Event itself is visually duplicated by scenes of post-traumatic hallucinations presented in climactic episodes of both movies: the chase through the Odessa streets . ' ', -. , , , , 1920- - . (, ), ' , , ��, , , . . 1991 , , . () 280 (, ) . , . . ( ) : , , , , . � , . . : , � � . , . 1920- , . in Night Cabman and fire in Two Days. So that Hordii and Antin became not passive objects of ideology, but its active subjects, the established fabric of existence had to be ruptured by the death-event. Yet, the power of Tasin's and Stabovyi's films resides mainly within the fact that they show the situation of the psychological fracture not descriptively as in classical narrative cinema, but extremely cinematically, involving montage, this crucial instrument of the avant-garde of the 1920s. Kaleidoscopic flicker of the shots resembles the most nonnarrative avant-garde films (such as Mechanical Ballet by Fernand Leger). Still, in this case it serves to express confusion of the characters, while creating a new "revolutionary" and active spectator on the ruins of classical, observing, passive audience. Let me finally say a few words about the latest reception of Two Days and Night Cabman. After Ukraine gained independence in 1991 one can witness an unavoidable tendency to inscribe the previous Soviet experience and derivative cultural products into the newly-created national narrative. The processes of actualization and integration of the experience of pre-/non-Soviet communities (either ethnic or national) first and foremost implied a reprocessing and an assimilation of this dominant Soviet identity. From a modern perspective the Soviet Ukrainian appears to be a clumsy misunderstanding that should be forgotten as soon as possible. As a result, after these battles for coherent and acceptable Ukrainian identity, the Soviet Ukrainian cinema turned out completely deprived of its communist component. Depending on the desire to inscribe a particular director (or movie) into the national pantheon the problem of their political commitment is solved quite simply: either devotion to left ideas is claimed the result of being shortsighted, or, on the contrary, is said to be a display of hypocrisy, since simulation is considered the only way to preserve oneself under Soviet tyranny. Sincere faith in revolution can be thought in only one format, as a fatal mistake that inevitably turns to tragic ends. 281 It is in this way that Night Cabman and Two Days are interpreted. This attitude retrospectively inverses the logic of the films: it is not the personal tragedy which leads to the awareness of injustice and acceptance of revolution, but the emergence of "red plague" in the minds of the children inexorably brings trouble on their parents. The national narrative offers to eliminate as discredited everything that existed before Ukrainian independence. In these circumstances an attempt to reconfigure the Soviet Ukrainian cinema of the 1920th not as compromised, but as historically localized and critically acclaimed is definitely worth attention. I : , , , , , , -, II, . , . II, . , . , . , . , . , , , , T W O D A Y S H E O R H I I S T A B O V Y I STARRING: IVAN ZAMYCHKOVSKY, SERGEI MININ, VALERII HAKKEBUSH, VOLODYMYR URALSKY, YOSYP RAPOPORT, OLEKSANDR CHUVELOV, MILI TAUT-CORSO, MARIA MAKSAKOVA II, O. NAZAROVA, M.RUDAKOV II, N.SOKOLOVA, V.GRUNBERG, G.KALMYKOV, V.KOMAR, A.KUTS, STROHANOV, FEDOTOV, LAHUTKIN, TARASEVYCH / ABOUT --, 1927 , , , . � . . , , . THEATER-CLUB-CINEMA MAGAZINE, 1927 Two Days moves far afield from the overwrought plots, endless scenes, and expensive sets which characterize most VUFKU films. In place of confused magnificence, we find simple clarity. The sparest of plots and production. A film of movement, interest, and significance. , , [ ] � "". 284 � . MYKOLA LIADOV, SCREENWRITER, FILM CRITIC ...the camera work [in Two Days], is a shining example of "photo landscaping." Two Days is in its core an intimate psychological etude -- deeply lyrical and impressionistic. "", "" , "". It doesn't titillate, shock you or persuade, it creates the mood and moves you. ...a young cameraman shooting his ( ) , , , - "'". , , , . , . , . � � . second film of an exceptional artistic craftsmanship, taste, and temperament; witness several of his interior shots. Especially well done is then scene where Anton is alone in his tiny room, searching for his son's photo. It appears that the only source of light in the room is a solitary candle. Anton is front lit throughout the scene, underscoring the psychological weight. His face, every contour crisply delineated, hovering at the center of the shot. , , , , , . , . � . � . . MYKOLA USHAKOV, WRITER, POET, FILM CRITIC Young cameramen, as a rule, work with lots of light. They turn on all the projectors and then have no idea how to deal with all that light. But to an experienced cinematographer, the night-time is the best time. This is when he is able to spot a greater range of possibility, and with minimal light, able to create an endless array of compositions. Demutsky himself thought that his best scenes in Two Days were those he shot at night. , � . You see a suite of rooms in a palace belonging to a Count who has escaped the , . . . . . . Bolsheviks. A ray of light reveals a grand piano and a chandelier. Spots of light here and there on the walls. The Count's dining room. A table. Chairs. The chair backs laying shadows across a tablecloth. 285 . ... A garden path streaked with light wanders among groomed hedges in low light. A staircase in the Count's palace appears out of the shadows. , , , . Demutsky made striking use of spot lighting during the filming of Two Days in order to emphasize details important to the pacing of the story. , 1927 , [- ABOUT THE PRODUCTION KINO MAGAZINE, 1921 It's fascinating to watch as he Zamych- ] . kovsky achieves a cinematic realism utterly distinct from the theatrics of the stage. . Musicians are on hand for the filming. - , ? , , . , � , : , � . -- What should we play, Ivan Eduardovych? A short figure in livery with a timeworn, thoughtful face slowly emerges from the shadows. Although they're not yet shooting, the man before you is no mere actor waiting for his cue: by means of an internal rigor and method his has transformed himself into a screen presence. 286 - ... -- Play Little Chick... , : . . . . , . And to the high-pitched melody of "... Fried chicken, boiled chicken..." a dramatic scene unfolds: an aging house servant stands before his son's dead body. The fragility of inconsolable grief. Resignation. Despair. And then hatred for the killers feeding, growing. ... , . . Zamychkovsky had lost a son during the Russian Civil War in circumstances mirroring those in the scene. It is a moment captured on film that remains in memory, ever associated with this popular tune. , , . And now standing before the camera, the actor forces himself to revisit, again, his private grief, setting the tone, dredging up whatever the scene calls for. 287 () 2 1894 - 10 1968 . . . . 1919 1923 , 1917 1919 . ', , ( , ). 1924 , . 288 , : � , - . , 1920- . Heorhii Stabovyi, 1920s , . , . , ... ( , 1926) , , , . ... - , . � �, HEORHII (YURII) STABOVYI DIRECTOR 2 APRIL 1894 � 10 JULY 1968 Screenwriter and director -- played a central role in the establishment of Ukrainian cinematography. Born into a military family in the town of Kozeletz in the Chernihiv region in northeastern Ukraine, he continued in the family tradition by attending military academy and graduating as a cadet. Although his early biography is largely unknown, it is established that from 1919-1923, he served in the Soviet Red Army, fighting at the front in World War I. Following demobilization, he wrote a series of plays -- The Spirit of the East, Whirlpool, among others -- which found their way into theaters in Odessa, Kyiv, and Kharkiv. In 1924, the young playwright Stabovyi was offered work as a screenwriter at the recently re-opened Odessa Film Studios (All Ukraine Photo-Cinema Administration, the VUFKU) by its then-director, Pavlo Nechesa. He quickly set about writing scripts for two short film/newsreel collections -- Flywheel, Hands Off China -- and a third film, Vendetta, sharing screenwriting duties with Solomon Lazurin and Mykola Borysov. The film was directed by outstanding Ukrainian filmmaker and theater reformer, Les Kurbas. (1927). , : , , ; : , . Crew of Heorhii Stabovyi's film Two Days (1927). Left to right, top: Oleksii Shvachko, Danylo Demutsky, Heorhii Stabovyi; bottom: unknown, Solomon Lazurin 289 The following year, Stabovyi together with Mykola Borisov, wrote the screenplay for the first two-part Ukrainian adventure film, UkrAsia, which was brought to the screen by legendary Russian-Ukrainian cinematographer Petro Chardynin. The film proved wildly popular both at home and abroad. The next film based on a Stabovyi screenplay was to be P.P.P. (Pildsudski Pays Off Petlyura), in 1926. Envisioned as another historical-adventure drama, filming was entrusted to a director with broad experience in propaganda films, , 1921 ' . . ... . , ' . ... . � , . , ... 290 . (1926), ... ( , 1926) Still from Heorhii Stabovyi's film P.P.P. (Pilsudski Pays Off Petliura, 1926) . , , � , . , 1927 ( ) . , � , , : , , - () . Aksel Lundin. Yurii Tiutiunnyk, a major-general in the army of the short-lived Ukrainian National Republic (UNR) and commander of the UNR Army's second winter campaign against the Bolsheviks, plays himself in the film. Tiutiunnyk was to have been joined in an eponymous role by "Civil War Hero" and legendary division commander Grigori Kotovsky, whose divisions routed the unified forces of the UNR Army under Tiutiunnyk near the town of Bazar. However, Kotovsky was killed under mysterious circumstances prior to the start of filming, one version insisting that the murder was by the direct order of Stalin. Natalia Uzhvii, who was to become a noted star of the Ukrainian stage and screen in her own right, landed her first film role in P.P.P. Stabovyi was tagged to finish the project when Lundin was removed from the director's chair during filming because of his binge drinking. With P.P.P., Stabovyi the screenwriter effectively got his first chops as Stabovyi the director. The result was a middling historical drama, congested with battle scenes and massive crowd shots which markedly slow the film's pace. Nonetheless, P.P.P. became a hit in Ukrainian movie houses and was also screened in Europe. ... ( , 1926) Still from Heorhii Stabovyi's film P.P.P. (Pilsudski Pays Off Petliura, 1926) 291 Thanks to the film's success, Stabovyi was afforded the opportunity to take a film entirely under his own control -- A Fresh Wind, from 1926. The film, depicting a clich�d plot about class struggle, served not only as Stabovyi's directorial debut, but also as the debuts of cinematographer Danylo Demutsky, who would later capture on film the masterworks of Dovzhenko, and Moisei Zats, the gifted screenwriter of Ukrainian silent film. The following year, Stabovyi shot A Man from out of the Woods, again with Demutskyi. With all the markings of an adventure film, Stabovyi's work received good marks from critics. The film shot and edited, , , , , . , , , . , 1929 , � 292 . 1930 -. 1930 1934 - 25 (1930), (1929). , 1929 . Poster for Heorhii Stabovyi's film Two Days (1929). Kino Magazine, 1929 (1931), (1931). 1934 , ( .. ), . � , , , , . , , -- , , , , �. Stabovyi moved on immediately to his next project, Two Days, working with the same crew he had on A Fresh Wind: Demutsky, cinematographer, screenwriter Zats, and production designer Heinrich Beisenherz. Ivan Zamychkovsky deftly handled the lead role of an aging male house servant and the film, a touching chamber drama stripped of all ideology, placed Ukrainian cinema on a level footing with the finest western filmmaking, and ushered in the age of realism in Ukrainian cinematography. Two Days was shown widely in Europe and compared favorably with Fredrich Wilhelm's The Last Man. It was also the first Ukrainian film to receive commercial release in the United States. Stabovyi's Waxworks Exhibit (Eksponat iz Panoptykumu) and The Pearl of Semiramis, both shot in 1929, marked more or less successful explorations by the filmmaker of the untested genres of urban social drama, and comedic fictional dramatization, in this case revolving around the theme of the founding of Odessa. 293 In 1930, Stabovyi shot his last feature in Ukraine, They Stop Our Pacing, an ideologically tainted offering about the uncovering of a scientific saboteur. From 1930 until 1934 Stabovyi was busy with a string of documentary-propaganda films: Twenty-five Thousand (1930), The First Ukrainian Olympiad (1931), and Springtime Bazar (1931). (1929) Poster for Heorhii Stabovyi's film Two Days (1929) In 1934 he left Ukraine for Moscow where he produced a series of scripts for the Maly Theater, including 1960's Colleagues based on the novel by Vasili Aksionov, his productions often meeting with broad popular appeal. "As always, I aim to keep up with what is happening on that front on which I also once served -- a forthright, trustworthy, and honest soldier. My heart, now as ever, belongs to my native, Ukrainian, film and to that time of my youth. A time of great hope, joy-filled victory, and bitter defeat. A time of friendship and collaboration with the fair folk of my homeland, who gave to me generously out of the warmth of their hearts." HEORHII STABOVYI 4 1893 � 7 1954 � , � , , , , . 1903 , . 294 1911 ( ). . - ' . 1913 , . , 1930- . Danylo Demutsky, late 1930s , . 1920 - , ' ��, ' , . 1924 � . 1921 . 1922 - . DANYLO DEMUTSKY CINEMATOGRAPHER 4 JULY 1893 � 7 MAY 1954 Danylo Demutsky stands as one of the most prominent Ukrainian cinematographers of the XX century and a founding father of the national school of film photography. He was born in the village of Okhmativ into the family of Porfyrii Demutsky, a nobleman and dedicated collector of Ukrainian folklore who organized the first touring Ukrainian folk choir. The father -- along with luminaries of the socially activist and highly patriotic Ukrainian intelligentsia, composer and National Music Academy founder Mykola Lysenko, writer Mykhailo Starytsky, and philosopher Mykola Drahomanov -- was instrumental in establishing a professional, national theater. In 1903 Demutsky entered the Second Kyiv Gymnasium (Academy) where he grew interested in photography. In 1911 he entered St. Volodymyr University medical course, later transferring to the law department. In that year he joined the Dager photography group, taking the first steps of his artistic career by photographing landscapes. 1913 saw him participate in the All Russian Photo Exhibition where he exhibited four of his works. During the war Demutsky became acquainted with work of American photographers, adopting their impressionistic style to his own work. In 1920 Demutsky met Klavdiya Romaniuk, a portrait photographer and expanded his interests to portraiture and the use of soft-focus. Employing this method he began to create soft, illuminated images-his artistic signature. In 1921, the Pan-Ukraine Historical Museum and the Museum of Anthropology and Ethnography at the Ukrainian Academy of Sciences invited Demutsky to organize photo laboratories for them. Then, in 1922, theater director and reformer Les Kurbas approached Demutsky with a proposal to join the Berezil Theater in order to create a photography workshop. 1924 saw his best work of the period: a series of portraits of choreographer and ballet master, Kasyan Goleyzovsky. 295 In 1925 he was invited by a professor Vasyl Krychevsky who was working at the time on the film Taras Shevchenko at the Odessa Film Studio of the All Ukraine Photo Cinema Administration (VUFKU). There Demutsky 1925 , , � . , , , -, . . ( 296 ) � - (1925) � . , . , 1920- . Danylo Demutsky filming, late 1920s , , -, . . 1927 . : , ', , . , landed the directorship of the photography workshop and, under the tutelage of Borys Zavelev -- a pre-revolution Russia Film School cinematographer -- honed his cinematography technique. That same year, his "soft-focus" work garnered him a Gold Medal at the International Exposition of Modern Industrial and Decorative Arts in Paris. It was also at this exhibition, which breathed life into what later would become known as the Art Deco style, that another Ukrainian, avant-garde artist, Vadym Meller, was awarded a Gold Medal for his scenic design of the Berezil Theatre. Danylo Demutsky had become Ukraine's most prominent photographer. Demutsky's earliest cinematography work -- a joint project with German camera operator Joseph Rona -- was a satirical short, Vasya the Reformer (1925), based on the screenplay by Oleksander Dovzhenko. The film was a complete fiasco and didn't make it to the big screen. In 1926, Demutsky shot the Dovzhenko directed adventure-comedy Love's Berries. The film imitated the early, timeless Chaplin comedies but was otherwise unsuccessful. And while it did serve as a good testing ground for both men, this debut put serious strain on Dovzhenko's career as a film director. Karl Freund's camerawork in F.W. Murnau's Der Letzte Man evidently, heavily, influenced Demutsky's work at the time. (1927). , : , ; : . Crew of Heorhii Stabovyi's film Two Days (1927). Left to right, top: Danylo Demutsky, Heorhii Stabovyi; bottom: Solomon Lazurin 297 In 1927, Demutsky was invited to participate in the filming of Dva Dni (Two Days), which was to be directed by Heorhii Stabovyi, and starring the outstanding Ukrainian actor, Ivan Zamychkovsky. This small-scale drama truly brought out Demutsky's talent for the first time. His rhythmic, almost newsreel-like frames at the start of the film are followed by soft, long background shots marked with highly expressive portraiture. Bold lighting accompanies the compositionally laconic dramatic scenes. But in the cinematographer's personal opinion, the best shots in Two � . , , . 1929 , . , , , : , � . (1930), , , , , ( 298 , ). � , . . , , 1924 . Danylo Demutsky. Choreographer Kasyan Goleyzovsky portrait, fragment, 1924 1929 . 1930 ( ). , , . 1932 , ( 1934 ) � � � � , . Days were completed at night. Two Days was enthusiastically received in the west, and put the Ukrainian Film School on an equal footing with the leading European traditions. Working again with Dovzhenko on the 1929 masterpiece Arsenal, Demutsky began to employ an entirely new set of expressive tools in his work. Dynamic, quick-cut, impetuous shots, brilliantly juxtaposing light and space, with black silhouettes against overcast skies, low-angle shots and backlighting for the most dramatic scenes, combined to elevate the film to previously unachievable artistic heights. In 1930's Zemlia (Earth), Demutsky and Dovzhenko team up to create a surprisingly lyrical, fluid, yet ascetic work filled with light and music where many scenes were shot in close rhythmic imitation of the folk songs often sung by Demutsky. Meditative, wide-angle portraits of peasants and washed-out dusk scenes shot in soft-focus became not merely tools of artistic expression, but essential components of the film. 299 In 1929, Demutsky moved on to the newly-built Kyiv Film Studio, and in July 1930, traveled abroad together with Dovzhenko in order to study the techniques involved in "talking pictures", (Earth had been planned originally as a talkie), visiting Film Studios in London, Berlin, and Paris. (1932) Still from Oleksandr Dovzhenko's Ivan (1932) In 1932, Demutsky was arrested while filming his next joint project with Dovzhenko, Ivan -- a tendentious, yet "ideologically sound" film about the construction of the Dnipro River Power Plant. The film created a furor at the Venice International Film Festival in 1934, taking the festival Cup. Faced with accusations of leaking state secrets acquired during a previous interrogation and of concealing a screenplay, Ukraine, by convicted screenwriter and director Faust Lopatynsky, Demutsky went 1934 , � � � �, . , . 1937 17 ' . 1940 36 . , . . 1946 300 , (1947) , (1950) ( . . 1939 1945 . Danylo Demutsky. Photo from Tashkent series. Between 1939 and 1945 ), (1951) . "... . . , ." � , ... . , , , �. to prison only to be released four months later. Following a second arrest in 1934, Demutsky is labeled a "bourgeois nationalist" and a "socially dangerous element" and exiled. He moved to Tashkent and settled with the filmmaking industry located there. Arrested again in 1937, Demutsky was released 17 months later, fully "publicly rehabilitated". During that period before 1940, Demutsky was busy filming documentaries about Central Asia, 36 all told. He then returned to Kyiv but, with the beginning of the war, was quickly evacuated again to Uzbekistan, where he filmed the features Nasredin in Bukhara, and Takhid and Zukhra. It wasn't until 1946 that Demutsky returned to the Kyiv Film Studios where he shot The Deed of a Scout (1947), directed by Boris Barnet, In Peacetime (1950), directed by Volodymyr Braun, the film garnering the award for best cinematography at the Karlovy Vary International Film Festival, and Taras Shevchenko (1951), directed by Ihor Savchenko. , 1927 . Danylo Demutsky filming, 1927 301 "...He was distinguished by an exceptional talent. Demutsky drew you in with his incredible lyricism. His landscapes always subtle and organic, his compositions standing out with their forceful expression." JOSEPH SHPINEL "I am compelled to the fine arts, and would never be content doing something else... My passion for artistic photography, born in my school days, played a crucial part in, first, the initial choice of photographer, and, finally, that of cinematographer." DANYLO DEMUTSKY () 27 1899 � 5 1959 20 . . 1917 1920- , ( ). 1923 , , - , � ( ). 1924 , . , , � � � � , 1924 302 . , , . , , , . . , 1923-1924 . Solomon Lazurin. Yalta, 1923-1924 � 1926 3. , (1926), . , . . , SOLOMON LAZURIN (BAYEVSKY) SCRIPTWRITER 27 MAY 1899 � 5 APRIL 1959 Numbered among the outstanding screenwriters in Ukrainian cinema of the early 20th century, Solomon Lazurin was born into the family of Solomon Bayevsky, a bookbinder in Melitopol, Ukraine. Graduating from secondary school in 1917, he moved to Kharkiv where he entered the Kharkiv National Education Institute (Kharkiv University) in the early 1920s. In 1923 while continuing his studies, Lazurin was appointed secretary of the music-theatrical department, and not long thereafter to the National Arts Education Commissariat (the Ministry of Education) of the Ukrainian Soviet Socialist Republic. In 1924 he began to work at All Ukraine Photo-Cinema Administration (VUFKU), writing scripts for short films. Vendetta, the first film made from one of his screenplays, was realized by "the godfather of Ukrainian cinematography" and avant-garde director, Les Kurbas, and included in the first edition of the VUFKU cinema-newsreel, Flywheel. Borys Zavelev, a prominent name in Ukrainian film at the time and well-traveled master of the pre-revolutionary school, handled the camera work on the film. While working on the set of this naive, anti-religious satire, Lazurin struck up a friendship with his Vendetta co-author, Heorhii Stabovyi. He would go on to write some of his best scripts for Stabovyi. Petro Chadynin, the legendary pre-revolutionary Russian film-maker and a founder of the Ukrainian school, was the next to turn a Lazurin script into film. The result found its way into the 1926 cinema-newsreel short collection, Flywheel 3. 303 By the time Lazurin set out to write his first full-length feature -- Order for the Arrest of... -- he had already managed to work with the best practitioners of Ukrainian cinema of the day. Directed by a master of psychological nuance, Heorhii Tasin, Order presaged Ukrainian cinema's trend toward psychological realism. The film has subsequently faced criticism of excessive psychodramatizing and the ambiguity of its lead characters. It was in this manner that Lazurin developed his knack for dramatic plot twists, plumbing the psychological depths in even the most ordinary set-pieces, and, together with directors of the criticized "psychological school", strove to realize film's latent psychodramatic potential. In 1926 he penned the screen version of his novel, Clash of the Titans. This , �� . 1926 . , , , . . (1927) , . , . . 1929 (1929) 304 (1930), . (1928) ? , (1928). 1930 , , . , 1933 . Solomon Lazurin with his wife. Odessa, 1933 : . � �. �� , �� �-� (1932) (1933). 1935 , . . 1937 , ' ' . 1949 . .. 1950 . anti-utopian effort focused on the theme of the growth of class consciousness in an established capitalist society. Filmed by Viktor Turin, it was heavily promoted by VUFKU, becoming an early Ukrainian runaway success. Lazurin created his masterwork, the groundbreaking chamber drama Two Days, with Heorhii Stabovyi directing. The film was the first Ukrainian film to gain critical acclaim in the west, receiving favorable comparisons to Friedrich Murnau's The Last Man. Two Days was also the first film to put the talents of Danylo Demutsky on full display, the brilliant acting of Ivan Zamychkovsky also drawing the admiration of foreign critics. Still in 1929, after the success of Two Days, Lazurin worked on the screenplays for Three Rooms Off the Kitchen, a comedy based on Vladimir Mayakovsky's How's Life? script, and drama Eyes That Saw. In 1929-30, Lazurin, in concert with Stabovyi, offered up yet another duet of outstanding Ukrainian silent films: Waxworks Exhibit, followed by They Stop You from Going. 305 1930 marked the occasion when Lazurin donned the director's cap for the first and only time, filming The Bashtan Republic in strict accordance with a plot from Communist Party central: Collectivization. The film was banned by the Ukrainian Communist Party leadership for its "right-leaning politics." This "caution" coming at the height of political repressions in Ukraine, Lazurin exercised personal discretion by switching from psychologicallyheavy plots to those dealing with class revolution. Examples of this switch include They Stop You From Going, Attack (1932), and The Kakhovka Staging Grounds (1933), all of which dealt with themes of class struggle during the periods of the Russian Empire and the Russian Civil War. In 1935, Lazurin penned the inoffensive musical comedy The Intriguer. . , 1933 . Solomon Lazurin with his son. Odessa, 1933 That year Solomon Lazurin became the artistic director of the Kyiv Film Studio (later, Dovzhenko Film Studio.) Lazurin was arrested and jailed in 1937, receiving his release just prior to the start of World War II. After his return to Kiev from evacuation, and up until 1949, he worked as a film editor at Dovzhenko Film Studio. In 1950 he wrote a series of screenplays for documentaries on topics of agricultural interest. I () - 05 1891, � 24 1977, -, , , , , . , 1930- . � 1925 . 306 ' 15 , . � � � , , - , 1925 . Heinrich Beisenherz, 1925 : � , , . , �. ( Heinrich Georgi) . , , : Heinrich Beisenherz 1924 1932 , , 1925 1932 . HEINRICH (HEORHII) BEISENHERZ ART DIRECTOR 05 MARCH 1891, DORTMUND � 24 MARCH 1977, WIESBADEN Eminent German and Ukrainian production designer, is rightly placed among the founders of the Ukrainian school of cinematic art. Modern critics list him alongside Vasyl Krychevsky, Volodymyr Miuller, and Yosyp Shpinel when recounting the most esteemed production designers of his day. Beisenherz evaded the notice of Ukrainian researchers who had lost track of his career after his return to Germany. Ukrainian film reference materials list only the artist's Ukrainian filmography and the exact date of his move to Ukraine, 1925. Baisenherz designed fifteen films during his five-year stay in Ukraine, marking a notable achievement in Ukrainian cinema. More importantly, however, Baisenherz raised up an entire generation of artistic designers and producers, introducing Ukrainian cinematography to the highest standards in set design. In his personal memoirs, Odessa Film Studios production designer Solomon Zarytsky writes: "In the early years of Soviet cinema, our skilled German compatriot Beisenherz helped us immeasurably. He gave the impetus to an entire galaxy of artists on whom the beauty of our sets was entirely dependent." 307 For years the Ukrainian form of the artist's name -- Heorhii (Georgi), for Heinrich -- impeded researchers' attempts to identify him. At long last, thanks to German archival resources, the veil has been removed from the mystery: German artistic director Heinrich Beisenherz was working in Germany until 1924, and also after 1932. It can be reasonably asserted that this is the same Heorhii Beisenherz who resided, working in the Ukrainian film industry from 1925 until 1932. Finally, by comparing the biographies that cinematologists have long attributed to various individuals, it became possible to bring to light the biography of Heinrich/Heorhii Beisenherz and construct an exhaustive filmography for him. , , , Heinrich Beisenherz � . 1925 . , , (1926), (1928), (1929), (1929), (1928). ' : Liebes-List und - Lust Der Absturz ( � 1922), Die Liebe einer 308 K�nigin Das Geheimnis von Brinkenhof ( -1923) Garragan (1924). Der Absturz () . , , - , , . , -. , , . (1926) , (1926) , (1926) , , - Beisenherz arrived in Ukraine in 1925 at the instigation of a program forwarded by the All Ukraine Photo-Cinema Administration (VUFKU) to attract foreign filmmakers to Ukraine. The goal was straightforward: the elevation of the technological and artistic level of Ukrainian film. He began his work at the Odessa Film Studios at the same time as German cinematographers Joseph Rona and Albert Khn, who took part in the filming of such masterworks of Ukrainian cinema as Hamburg (1926), Appetite for Sale (1928), The Pearl of Semiramis (1929), Wind Across the Threshold (1929), and The Night Coachman (1928). Prior to his time in Ukraine, Beisenherz had finished five films in Germany: Liebes, List und Lust, and Der Absturz, (both 1922); Die Liebe einer K�nigin and Das Geheimnis von Brinkenhof, (both 1923) and Garragan, (1924). The Fall, (Der Absturz) featured the greatest star in European cinema of the day, Asta Nilsen and her Ukrainian husband, Hryhorii Khmara. , 1920- . Heinrich Beisenherz on the set, late 1920s 309 When one considers how German cinema continues to be defined by cinematic expressionism and the strong attention this tradition pays to the artistic design of a film, it is more than reasonable to assume that Beisenherz was both benefactor to and beneficiary of the highest level of artistic design in film. Beisenherz debuted in Odessa film factory as an art director of the first Ukrainian sword-and-sandal Spartak, which was shot by the Turkish film-maker Erturul Muhsin Bey invited to work at VUFKU. Large-scale scenery of Ancient Roman streets and crowd of extras that was involved ' (1927), (1928) , (1928), (1928) . , , . , 1930- , , . 1932 : Spuk am Rhein, (Fritz Maurischat). 1938 1954 , , � , , (Willy Fritsch), 310 (Liselotte Pulver), , (Johannes Heesters) . 1960 . 30 . � , , . - .� in shooting made the film resemble majestic Italian historical dramas of that period. Subsequent films were Hamburg (1926) written by Yurii Yanovsky, Benia Kryk (1926) by Volodymyr Vilner, Shoes (1926) by Petro Chardynin, in which Beisenherz was also a cinematographer, Oleksandr Dovzhenko's feature-length debut The Diplomatic Pouch (1927), Sold Appetite (1928) by Nikolai Okhlopkov and Joseph Rona, director's debut of Amvrosii Buchma Behind the Wall (1928), Jimmy Higgins (1928) by Heorhii Tasin and so on. Settings of the survived films bear witness of the great artistic talent of Beisenherz. It is known that German film-makers Rona and K�hn left Ukraine in the early 1930s, just when it became a field of a bloody experiment, but Beisenherz obviously had left earlier. In any case, his first film in Germany appeared in 1932: an animated film Spuk am Rhein, which he directed together with Fritz Maurischat. Beisenherz was most active in German cinema from 1938 to 1954, also performing art direction of movies during the War: mostly musical comedies with such movie stars as Willy Fritsch, Liselotte Pulver, Olga Chekhova, Johannes Heesters and Charles Aznavour. His last film Biesenherz designed in 1960. In general, on return from Ukraine, Bayzenherts made set design of 30 German and French movies. 311 "Beisenherz taught us laconic minimality of forms, taught to operate more with spatial solutions with less use of props. With two or three shields and lines, he could make a composition of the frame." SOLOMON ZARYTSKY 8 1868 - 15 1931 - , . , , . , . , 15-16 : , 312 . - � �. , . (1927) Ivan Zamychkovsky in Heorhii Stabovyi's Two Days (1927) 1887 , , , � ., , , . 1889 , . . IVAN ZAMYCHKOVSKY ACTOR 8 DECEMBER 1868 - 15 JULY 1931 Prominent Ukrainian film and theater actor Ivan Zamychkovsky was the son of Eduard Zamychkovsky, a laborer at a Kyiv sugar factory. Orphaned at an early age, Ivan was six when he started working first at a bookbinding shop, and shortly after as an apprentice at Kovalevsky Publishing located on Kyiv's central Khreschatyk Street, where the boy taught himself to read. As a young man he often played in a workers' amateur drama troupe where he revealed a knack for acting. His first public performance was at age 15; he and a friend successfully organized and staged a workers' production of a Ukrainian language play by Ivan Kotlyarevsky entitled Natalka Poltavka. The theater was raided by the police during one of the shows on orders from Kyiv General Governor Drenteln who demanded a halt to all "little russian" (a derogatory term for "Ukrainian") theater. 313 Zamychkovsky subsequently managed to organize two further workers' theaters on Velyka Zhytomyrska and Dymytrivska Streets in Kyiv, both of which were also shut down by the police. , 1910- . Ivan Zamychkovsky, 1910s In 1887, Zamychkovsky found work as a danseur with an operetta theater troupe led by opera singer, director, and entrepreneur, Joseph Setov. He later joined the theater troupe of Boyanovsky, getting to know prominent Russian opera soloist and founder of Moscow's Russian Drama Theater, Vasily Andreev-Burlakov. Burlakov was to have great influence on Zamychkovsky's development as an actor. 1889 saw him taking part in Ukrainian language performances staged by Oleksii Sukhodolsky, though the group was soon disbanded and Ivan 1897 , . 1917 ( � . .. , 1927 � ), 1925 � , . : ' , 314 -, , � � . , (1927) Ivan Zamychkovsky in Heorhii Stabovyi's film Two Days (1927) : , , . , . , , � �, . (1927). , - began the life of the itinerant actor, touring the Ukrainian provinces with different vaudevillian groups. He returned to Kyiv in 1897 where he worked for two years in an amateur theater at Arsenal munitions plant, staging a classical repertoire of everyday Ukrainian theater. In 1917, Zamychkovsky joined the newly established First National Drama Theater, (later moved to Dnipropetrovsk and renamed the Shevchenko First State Drama Theater of the Ukrainian Soviet Socialist Republic), and then, in 1925, the Odessa State Ukrainian Theater where he worked until the end of his life. The Odessa theater -- staging plays by Mykola Kulish and led by innovative follower of Les Kurbas and the originator of "mass theater performance", Marko Tereshchenko -- grew into a center of the Ukrainian avant-garde. 315 With the reopening of the Odessa Film Studio of All Ukraine PhotoCinema Administration (VUFKU), the best actors from Odessa State Drama -- Ivan Zamychkovsky, Yurii Shymsky, and Natalya Uzhvii -- got involved in screen acting. (1926) Ivan Zamychkovsky and Amvrosii Buchma during the filming of Petro Chardynin's film Taras Shevchenko (1926) Ivan Zamychkovsky only began appearing in films toward the end of his life, and yet managed to make 14 films in a four year period, some with the finest directors of the time. He found his m�tier as a character actor, playing psychologically subtle roles of "insignificant men" who endure personal drama often against the backdrop of the greater challenges of the age. His signature role was, undoubtedly, that of the butler Antin in a drama filmed by Heorhii Stabovyi, Two Days, (1927). As captured on film by the , : �, , . � ( World), (1926) Ivan Zamychkovskyi in Volodymyr Balliuzek's film Hamburg (1926) , � , , - � ( , 1927). , . , , , : (1926), (1926), (1926), (1926), (1929). , � (1927), (1927), 316 (1928) (1930) � , . . " , , ." incomparable Danylo Demytsky, Zamychkovky's acting in this chamber drama was compared by western critics to that of Emil Yannings in Friedrich Murnau's The Last Man. The World journal reported: "Zamychkovsky plays a servant, giving a marvelously real, impressive performance. In his thoughtful and detailed work he brings to mind Emil Jannings." Critics at home drew attention to "the range of dramatic imagery he has created from an ordinary life in the depths of human tragedy" (Kino, 1927). Two Days was the first VUFKU film to enjoy commercial release in the United States. . , 1927 . Ivan Zamychkovsky's Cartoon. Kino magazine, 1927 As an actor of unlimited range, a master of psychological nuance, with his laconic manner of expression, Zamychkovsky ably handled supporting roles in the finest VUFKU films: Benia Krik (1926), Hamburg (1926), Taras Triasylo (1926), Taras Shevchenko (1926), and Jimmy Higgins (1929). 317 He won the lead in a mere four films: Two Days (1927), Boryslav Laughs (1927), The Storm (1928), and finally, The Museum Guard (1930), in which his depiction of Professor Korniyenko rivals his work as Antin in Two Days. "In over forty years at work on the stage I've rarely had any problems with critics. That's no doubt due to the serious attitude I take toward my work." IVAN ZAMYCHKOVSKY 17 1901 � 24 1937 , 1926-1927 1930-1934 . . 1923-1925 , , , 1926-1927 � . , , (). , , , . 318 , , , , . � (1926) . , 1920- . Sergey Minin, 1920s ' (1927) (1927) , , . , , . 1930-1934 , , , , ' . , , , 1937 . SERGEI MININ ACTOR 17 JUNE 1901 � 24 NOVEMBER 1937 A Russian screen actor born in Vladivostok who played in a series of films produced by the Odessa Film Studio (VUFKU) between the years 1926-27 and 1930-34. From 1923 to 1925 he studied at the screen acting studio of Boris Tchaikovsky, director, cinema theoretician, and a pioneer of Russian cinema. He then taught at the studio from 1926 to 1927, simultaneously while performing in operettas, cabarets, and as a wrestler in the circus. His imposing appearance and muscular build led to repeated theatrical roles as revolutionaries, wronged fighters, scoundrels, and wandering adventurers. In an arrangement with the Odessa Film Studios, which had evidently been approved by the VUFKU management, Minin managed to land roles in three Russian films. His first Ukrainian acting role was in Volodymyr Vilner's Benia Krik (1926), featuring a script by Isaac Babel. He also appeared in The Diplomatic Pouch (1927), and Heorhii Stabovyi's 1927 masterpiece Two Days, in which he played the role of Andrii, the son of the aged butler Antin. (1927) Sergei Minin in Heorhii Srabovyi's film Two Days (1927) 319 Leaving Ukraine behind, Minin appeared in a number of films by Abram Room and Ilya Trauberg. The years 1930-34 saw his return to Ukraine and appearances in occasional roles in Pavlo Dolyna's Secret, Stabovyi's They Stop You From Going, Ivan Kavaleridze's Canal, as well as lead roles in Arnold Kordium's Mirabo and Joseph Rona's Mountain Flame and others. Minin's name does not appear in the credits of his final two films, presumably as a result of the political persecutions of 1937. 3 1895 -- 15 1968 20 , , , , , , . 1895 , , , . 1913 , , . 1920 320 ( 1935 � ), 1922 . 1920- 1, 2 3, , , , , ; ' , , (1929) -, 1910- . Boris Lyatoshynsky as a student, late 1910s . 1930- 2 (1936), ��, , , 1937 � � ( ) . 1935 1938 1941 1944 � . , , 4, BORYS LIATOSHYNSKY COMPOSER 3 JANUARY 1895 � 15 APRIL 1968 The foremost Ukrainian composer of the 20th century, a pioneer of Ukrainian modernism, founder of the Ukrainian composer's school, alma mater of internationally famous composers such as Ihor Shamo, Valentyn Sylvestrov, Ivan Karabyts, and Yevhen Stankovyc. Liatoshynsky was born in 1895 in Zhytomyr, into the family of Mykola Liatoshynsky, a history teacher and school principal. Following high school graduation in 1913, Liatoshynsky left Zhytomyr and moved to Kyiv, where he entered the Law Department at St. Volodymyr University while simultaneously studying musical composition at the Kyiv Conservatory under Reinhold Gliere. The young composer began teaching at the Kiev Conservatory in 1920, attaining a full professorship in 1935. In 1922, he taught composition and headed the Association of Contemporary Music. His list of compositions completed during the 1920s is impressive: Symphony 1, Second and Third String Quartets, Trio for Piano, Violin and Cello, Two Sonatas for Piano, Sonata for Violin and Piano, Piano Ballad, Piano Performance Cycle Vidobrazhenya' Overture on four Ukrainian Folk themes, and an opera, Zolotiy Obruch (The Golden Ring), based on the Ivan Franko novel Zahar Berkut. 321 Liatoshynky's 1936 composition, Symphony 2, resulted in unfavorable criticism and accusations of "formalism". It was during this same period that he wrote his Solemn Cantata and Testament, and, together with longtime friend Lev Revutsky, the opera Shchors, commissioned by the government to be written "in the manner of Gogol" for the promotion of heroism, and finally, he also brilliantly scored the Mykola Lysenko opera Taras Bulba. Between 1935 and 1938 and again from 1941 to 1944, Liatoshynsky was a professor at the Moscow Conservatory. During the war Liatoshynsky was evacuated to Saratov, where he created his Ukrainian Quintet, String Quartet 4, Suite on Ukrainian folk themes , ' , 2, . 3, , ', , , 4 5, ' . -, , . 1948 , ', , " ": 322 ��, � � � � � - �. 3, 23 1951 , , �� � � . 3, , 1990- , . � , , (1927) , (1931) , (1931) , � (1940) , (1951) , (1959) (1961) . for string quartet, Quartet Suite for Winds, Trio 2, and a number of suites and preludes for piano. Following the war, he composed Symphony 3, the ballade Grazhyna, the tone poems Reunion and On the Banks of the Vistula, the Concerto for Piano and Orchestra, Symphonies 4 and 5, his Slavonic Suite and Lyrical Poem. If his early works are influenced by Modest Mussorgsky and Mykola Rimsky-Korsakov, his later work moves from impressionism to symbolism, on into atonality and twelve-tone composition. In 1948, Liatoshynsky, along with Prokofiev, Shostakovich, and Khachaturian, was accused of "formalism," "bourgeois decadence" and "pandering to the West". He was labeled "the most characteristic representative of bourgeois-individualistic urbanism." 323 Withering critiques awaited his seminal Symphony 3, performed 23 October 1951 in Kiev at the Plenary Gathering of the Ukrainian Composers Union, after which was staged an actual trial to "expose the formalism and pessimistic worldview" of Lytaoshynsky. , 1950- . Boris Lyatoshynsky, 1950s Symphony 3, as well as a considerable number of Liatoshynsky's compositions, was banned, without a repeat performance until 1990th. Liatoshynsky also scored seventeen Ukrainian films, including such well known productions as Heorhy Stabovyi's Two Days (1927), Faust Lopatynsky's Karmeliuk (1931), Oleksandr Dovzhenko's Ivan (1931), Yulia Solntseva and Oleksandr Dovzhenko's Bukovyna: Ukrainian Land (1940), Ihor Savchenko's Taras Shevchenko (1951), and Ivan Kavaleridze's Hryhorii Skovoroda (1959), and The Prostitute (1961). 324 DJ U-RA ( ) , -, , - , Djmag, Godskitchen. - FUNKFUSION. ' Ultra, Magma, Avalon, Panorama. 2006 ATB, Ukrainian Dance Music Award. 2009 DJ U-Ra Adrenaline Dance Zone FEST. Dj U-Ra , , . ' Dj U-Ra 25 2011 28 2011 . 325 DJ U-RA (YURII MYKHALCHUK) Kyiv-based DJ, radio producer, music festival promoter, artistic director of a string of Kyiv nightclubs, publisher and editor of "Djmag" magazine and organizer of the massive "Godskitchen" rave, U-Ra labels his personal musical performance style as "FUNKFUSION". He began his career at the legendary Kiev "Ultra" nightclub, following it up with a succession of gigs at clubs Magma, Avalon, Panorama, and Disco Pride Party. In 2006, he promoted legendary trance DJ/ producer ATB's Kyiv appearance, and organized the Ukrainian Dance Music Awards ceremony. In 2009, U-Ra intro- duced his personal club project, Adrenaline Dance Zone, during the GOGOLFEST festival of contemporary art. On the Two Days soundtrack, DJ U-Ra experiments with a classical motif, overlaying a powerful orchestral section with an infusion of electronic sound. The premier of his musical accompaniment to the 1927 Heorhii Stabovyi silent classic Two Days took place on 25 June 2011 at the Mute Nights Festival of Silent Film and Contemporary Music, in Odessa, Ukraine. I I I : , , , , N I G H T C O A C H M A H E O R H I I N T A S I N STARRING: AMVROSII BUCHMA, MARIA DOUSEMETIER, KARLO TOMSKY, YURII SHUMSKY, MYKOLA NADEMSKY () 23 1895 � 6 1956 , . - . 1917 . 1918 � , , . - , 1919 , , 1918 , 328 , �� . 1920 , , - � , 1920- . Heorhii Tasin, early 1920s , 1919 . , (1921), �� . 1922 . (1922) . HEORHII TASIN (ROZOV) DIRECTOR 23 MARCH 1895 � 6 MAY 1956 A prominent Ukrainian film director of documentaries and features, and pioneer of the Ukrainian film-industry, Heorhii Tasin was born in the in Mohyliov district in the town of Shumyachi on what is now a shared border of Russia, Belarus, and Ukraine. In 1917, he graduated from St. Petersburg Psycho-Neurological Institute. According to soviet-era resources, starting in 1918, Tasin worked as an editor for various Kyiv newspapers and as an instructor in the Red Army political wing. This apparent fabrication regarding his "Red Army Service Record" was introduced into Tasin's biography later in order to suggest his loyalty to the Soviet regime. The Red Army, led by Antonov-Ovsienko, entered Kyiv displacing the legitimate UNR government only in March of 1919, a year after Tasin's supposed service. 329 In 1920 Tasin headed up the Kyiv District Photo Commission, and soon after the Pan-Ukrainian Film Commission (UFC). The UFC grew out of the Kyiv Military District's film section which had been responsible for propaganda and education. The UFC was the first centralized governmental body of the newly nationalized Ukrainian film industry. Beginning in 1919, the UFC produced propaganda films under the Red Star (Krasnaya Zvesda) banner. While working for the UFC, Tasin scripted a series of propaganda films, notably Heroes and Martyrs of the Paris Commune, and Flowers in Stone (1921) directed by the yet-to-be-discovered Aksel Lundin. Both films celebrate the idea of unity and brotherhood between the Russian and Ukrainian peoples. In 1922, Tasin was appointed director of the newly established Yalta Film Studio, which had incorporated the Khanzhonkov and Yermoliev Studios. The reorganized studio started production with the phantasmagoric utopian offering A Ghost Walks Through Europe (1922), directed by the prerevolution film-director Volodymyr Gardin and based on Tasin's screenplay. In 1923, Tasin was appointed director of the Odessa Film Production Studio. Working together with Pavlo Nechesa, Tasin quickly reestablished film production and laid the foundation for subsequent studio triumphs. Having re- 1923 . . , 1924 (), . 1924 , , � ( , 1924). 1925 , . - , � . 330 1926 . , , - . -, , , . (1926) Poster for Heorhii Tasin's film Alim (1926) , � �. (1926) , - , - , . 1927 , . : � opened two chief Ukrainian studios, Tasin proved an excellent crisis manager and in 1924 moved to Kharkiv, where he took a senior management position at VUFKU, the governmental body that supervised the entire Ukrainian film industry. He worked at VUFKU until 1924, in part as editorial director of the Makhovyk newsreel, the first edition of which included the short film Oktiabryna (1924), based on his own screenplay. In 1925, Tasin penned the screenplay for Les Kurbas' Arsenaltsi (Workers at the Arsenal), the film that served as the prototype for Dozhenko's Arsenal. Arsenaltsi introduced to the screen the talented Semen Svashenko, the actor who had belonged to the Berezil theater and would become a Dovzhenko favorite. In 1926, Tasin debuted as a director of the feature film, Order for the Arrest of.... With a screenplay by Solomon Lazurin, Tasin revealed his inclination to show close, psychological detail. In form, the film showed the history of revolution but as in all his work, Tasin used revolutionary events only as pretext, keeping the real focus on the individual human drama. Critics at the time panned Tasin's work, immersing themselves in a full-on "war on psychologizing." Tasin's next film, Alim, (1926, screenplay by Mykola Bazhan), was based on a Crimean Tatar folk legend about an uprising of the poor against their exploiters. In response to the criticisms aimed at him, Tasin intensified his efforts to include socially-revolutionary significant plots in his films, but at the expense of sacrificing the integrity of his characters. Tasin returned to his beloved filmmaking with Muddy Water, which dealt with the disintegration of an ancient patrician family set against the backdrop of contemporary revolutionary events. The Soviet critics were merciless: "Muddy Water is simplistic, home-grown, juvenile whining... the tearful, moaning mope of Muddy Water -- is surely no Russian Revolutionary." . , 1929 . Heorhii Tasin's Cartoon. Kino Magazine, 1929 331 Tasin, however, stayed true to form and in 1928 he created two of his best silent films: The Night Coachman and Jimmy Higgins. The films establish his clear transition from making quasi-historical vehicles about the revolution to producing films of a finely crafted artistic realism. Amvrosii Buchma had the lead in both pictures for which Tasin employed a time-tested approach: in order to intensify feelings of fear and ambiguity, he focused , ... -- , �. , 1928 , . . , , , . , , , . , , 1930 -332 . � (1937) ' (1938) . , , , � , , , , 20- 20 . 1941 . , - , , , � � , 25 (1944), (1945), (1947). on the leads personal drama, relegating revolutionary events to the background. Sadly, Jimmy Higgins has not survived, though The Night Coachman became a phenomenon in Ukrainian film history, a startlingly original treatment of the psychological thriller. The film was well received both in Ukraine and in the west. In 1930, during the first wave of Stalinist repressions, Tasin made two tendentious films dealing with the role of the working class during the Russian Revolution. He made the films deliberately, in order to confirm his loyalty to Bolshevik principles. Tasin also found success directing sound films; his greatest triumphs coming un 1937's Nazar Stodolia, based on the Taras Shevchenko play, and 1938's Karmeliuk, for which Tasin also wrote the screenplay. At the time the Ukrainian film industry had morphed into an exclusive ghetto involved in the production of films based on either apolitical themes from traditional theatre repertoire, or quasi-historical dramas of "the Revolution" aimed at depicting the active unity and historically-established brotherhood of the various nations making up the USSR. Tasin successfully maneuvered around the trivializing ideological clich�s of the day, managing to create films of great artistic integrity; films bearing the mark of the latter half of the 1920s � the "Golden Age" of Ukrainian cinema. This is especially true of Karmeliuk, where Tasin had the support of an outstanding cast. (1937) Heorhii Tasin filming Nazar Stodolia (1937) 333 In 1941, Tasin completed filming on The Sailor's Daughter; a film which held strictly to the soviet comedy adventure formula developed largely by Hryhorii Aleksandrov. Returning from evacuation after the war, Heorhii Tasin worked as a director of the Documentary Film Studio. In reality it was a post of "honorable exile" for disgraced filmmakers. It was here that Tasin made A Quarter Century of Soviet Theatre (1944), Beauty and Power on Parade (1945), and Soviet Ukraine (1947). II , 1925-1933 . . - . . 1924 - ( ). , 1925-1926 ' , . (1926) 334 -: , , , 1925 . (1926) - . , (1928), , � . . � ' (1929) , . . 1930 , , . , , 1933 . . , . ALBERT K�HN CINEMATOGRAPHER DATES UNKNOWN Albert K�hn was a German camera operator who worked in Ukraine at the invitation of the All Ukraine Photo Cinema Administration (VUFKU) at the Odessa Film Studios from 1925 through 1933. K�hn found himself in Ukraine as part of a program designed by VUFKU to attract German cinematic talent to Ukraine to boost the technological and professional capacity of Ukrainian cinema. In addition to K�hn, VUFKU enticed German camera operator Joseph Rona and production designers Heinrich Beisenherz and Karl Haaker to join the Odessa Film studios. The result was a string of Ukrainian cinema masterpieces from the 1920s. K�hn's biography outside his time in Ukraine is large unknown. He began operating a film camera in 1924 at the FilmNorth (later, NorthWest Film) studios in St. Petersburg. After shooting three comedy-adventure shorts, K�hn shot five feature films in 1925 and 1926, largely adventure films. One of the screenwriters from his last Russian film, Northern Lights (1926), was Hryhorii Hrycher-Cherykover: the one who clearly lured K�hn to work in Odessa, where he subsequently moved. K�hn's first film in Ukraine, 1926's Order For the Arrest of..., marked the directorial debut of Heorhii Tasin. The film was an artistic success evincing a tangible and creative psychological sense. K�hn's next film, The Night Coachman, (1928), shot again in cooperation with Tasyn is generally recognized as a masterpiece of Ukrainian silent film marking the genesis of realism in Ukrainian cinematography. K�hn deftly handles the edgy drama of the plot with close-ups of the actors and disturbingly bright lighting schemes of night scenes. Of K�hn's next four films, Oleksandr Solovyov's Five Brides deserves special attention. The film chronicles the trumped-up Bolshevik myth about the unabashed debauchery by Petliura's Ukrainian National Army in Jewish settlements in the mid-Dnipro River region. The leading role went to Amvrosii Buchma. In 1930, K�hn, like the other Germans on five-year contracts with VUFKU, left the Odessa Film Studio to shoot an additional three films at Armenkino Studios in Yerevan, Armenia. The last of these, Child of the Sun, he shot in 1933. Further biographical information is absent. K�hn is presumed to have returned to Germany. 335 5 1904 � 1942 , , . . 1904 . 1922 . 1924 . 1926 , . '. (1928), 336 . - . 1928 � . 1930 � , . , . 1930- , 1935 , . 1942 . MOISEI ZATS SCRIPTWRITER 5 JANUARY 1904 � DATE OF DEATH SOMETIME IN 1942 Ukrainian screenwriter of around ten films among which are recognized Ukrainian silent film classics. Reliable information on the life of Zats is largely unavailable. He was born in Odessa in 1904 and began working as a journalist at a local publication in 1922. He wrote his first screenplay in 1924. In 1926, Zats wrote the screenplay for Hryhorii Stabovyi's directorial debut, A Fresh Wind. Danylo Demutsky was the cinematographer. The next year, Zats, along with Oleksandr Dovzhenko and Yurii Yanovsky, co-authored the first significant film of Dovzhenko's career, The Diplomatic Pouch. This was followed up by his first solo screenplay for the highly regarded Heorhii Tasyn silent film, 1928's The Night Coachman. The film is recognized as a classic of Ukrainian cinema and was well-received outside Ukraine. The straightforward plot dealing with the Odessa anarchist-Bolshevik underground was realized as a work of great suggestive power due to the powerful direction of Tasin and the dramatic artistry of lead actor Amvrosii Buchma. 337 In 1928 Zats penned two scripts dealing with Jewish themes -- The Earth Calls, and The Day Before -- basing them on the Aleksander Kuprin classic novel, Gambrinus. In 1930 Zats wrote a new chamber drama -- The Museum Guard -- directed by Borys Tiahno. The film featured Ivan Zamychkovsky in his final dramatic screen role. During the 1930's, Zats was occupied with writing scripts for propaganda films. His final screenplay, a children's feature called The Wonderful Garden, was made into a film in 1935. Moisei Zats was killed in 1942 during the Siege of Sevastopol. - 7 1892 � 2 1980 � - . . , -, . , 1914 . 1916 ' . 338 . . 1920 211- - - , , 1970- . Yosyp Shpinel, 1970s , . , . 1921 , ( - ), - , , , . 1927 , -, YOSYP SHPINEL ART DIRECTOR 7 OCTOBER 1892 � 2 JULY 1980 Yosyp Shpinel is rightly included among the most celebrated of Ukrainian and Russian production designers of the first half of the 20th century. He was born in the Ukrainian town of Bila Tserkva where his father, Aaron Shpinel, was a teacher. Educated in private schools, Shpinel then moved to Kyiv where he established himself as a draftsman-surveyor, while he prepared to matriculate at the Kyiv Arts Institute. Shpinel graduated from the institute's architectural department in 1914. In 1916, he began to assist the well-known Kyiv architect Valerian Rykov in the design of the Church of St. Mykola the Miracle Worker to be built at the Kyiv Bratskiy Cemetery. It was during this year that he was conscripted into the army and sent to the front in World War I. When Kyiv was overrun by the Bolshevik army, Shpinel was put to work making propaganda posters and decorating ideology-promotional train caravans which were then making their way through the countryside. 339 By 1920, now attached to the 211th military construction detachment on the war's Southwestern Front, Shpinel ended up in Odessa. While in the city, he became acquainted with the actor Hnat Yura, which resulted in his designing a number of performances at the Ukrainian-Galician Army Supported Franko Ukrainian Drama Theater. The actor Amvrosii Buchma was also working at the theater at the time. Following the war, Shpinel went to Moscow where he entered the graphic arts department at the Technical Arts Academy, which boasted avant-garde artists Wassily Kandinsky, El Lissitzky, Volodymyr Tatlin, and Oleksandr Rodchenko as a part of its faculty at the time. In 1927, Shpinel accepted the invitation of fledgling director Hryhorii Hrycher-Cherykover, a close friend, and made his debut at the Odessa Film Production Studio on the set of Through Tears. His second film in Odessa would be Heorhii Tasin's Ukrainian silent masterpiece The Night Coachman from 1928. (1928) -. , , (1928) , . , � -, , ( � 1928), ' (1929). 1928 . 1929 . , - . 340 , 1920- � : . 1930 . , , , - ', ( � 1930 ), (1931) . 1931 . 1933 , , . 1930- � , � , . Shpinel soon found himself working with directors occupied with film subjects surrounding the lives of the Ukrainian Jewish minority: first with Hrycher-Cherykover on The Day Before, followed shortly by The Eyes That Saw with Volodymyr Vilner (both films from 1928), and finally, Five Brides with Oleksandr Solovyov in 1929. During this period he also taught at the Odessa Film Vocational School. In 1929, Shpinel and Volodymyr Miuller plotted out Oleksandr Dovzhenko's avant-garde masterpiece, Arsenal. Spare -- bordering on ascetic -- frames of the Ukrainian-Bolshevik conflict were interspersed with shots from celebrations during the Ukrainian National Revolution. It was in this same year that Shpinel drew up Pavlo Dolyna's By New Paths, and a number of films from a genre uncommon to Ukrainian cinema of the 1920s -- melodrama -- including Oleksandr Perehuda's Death Loop and Grigory Roshal's Two Women. In 1930, Shpinel designed the psychological thriller for director Borys Tiahno, The Museum Guard which starred the well-known Ukrainian actor, Ivan Zamychkovsky. Shpinel also worked on a significant number of propaganda films while in Ukraine: David Maryan's A Life in His Hands, and Heorhii Tasin's The Guest from Mecca, (both, 1930), and Vera Stroyeva's A Man Without A Carrying Case (1931). 341 In was in 1931 that Shpinel moved on to the Kyiv Film Studio where he taught a course on "frame composition" at the Kyiv Film Institute. In 1933, in an apparent attempt to spare himself from the political repression then sweeping through Ukraine, he moved Moscow and began working at Mosfilm (Moscow Film Studio). By the end of the `30s, Shpinel was working exclusively in Russia, though mostly with Ukrainian directors whom he had met while working in Ukrainian studios: Mykola Shpykovsky, Grigori Roshal, and especially Vera Stroyeva. Together they fashioned a number of socio-historical films and adaptations of classic titles from world literature. The list includes Petersburg Night (1934), Three from the Same Street, A Generation of Victors, Parisian Stars (all from 1936), - , : (1934), , , ( � 1936 ), (1937), , ' ( � 1938 ). 1938 , , '. 1940- � (1944, 1945) . , 1940-1950- 342 , , , (1946), (1948), (1950), (1953), , ( � 1955 ), (1957-1959) . . 1940 � ( ), 1965 � . � . ... . , , .� Gavroche (1937), Young Commune Dwellers, and The Oppenheims (both, 1938). In 1938, Shpinel was approached to set the design for the Sergei Eisenstein, Dmitri Vasiliev masterpiece, Aleksandr Nevsky. Cinematographer Eduard Tisse and composer Sergei Porkofiev were also involved in the production. Unquestionably, Shpinel's most remarkable design work is that from the historical biography Ivan the Terrible, parts 1 and 2 (1944, 1945), directed by Eisenstein. Throughout the 1940s and 50s, Shpinel was busy designing historical dramas as well as adaptations of classic literature. This ongoing collaborative relationship with his favorite directors, Vera Stroyeva and Grigorii Roshal resulted in films like Our Heart (1946), The Novel of a Real Man (1948), Conspiracy of the Doomed (1950), Skanderbeg, the Albanian Warrior (1953), The Road, The Freed (both 1955), and Walking Torture (1957-1959). Shpinel's productions were also shot by directors Yuliy Raimzan, Mikhail Kalatozov, Aleksandr Stolper, and Sergei Yutkevych. While working in Russia Shpinel designed thirty feature films all told. 343 Beginning in 1940, Shpinel taught at the Pan-Russian State Institute of Cinematography, attaining a full professorship in 1965. "Shpinel the artist has skillfully reconstructed the past. He handles the material beautifully largely due to his architectural sense... penetrating insights into the epoch he is depicting marks everything he does. From the very outset, his sketches are so meticulously drawn that scenery is able to be constructed simply by following them to the detail, no changes needed." SOLOMON ZARYTSKY (-) 14 1891 � 6 1957 . 1891 , 9 . , . 1905 , ( , ). , 344 , . 1912 , , . , 1920- . Amvrosii Buchma, late 1920s , . ' , , , ' , - , , , . ( ), ( ), ( ), ( ). � - . , AMVROSII (AMBROSII-BRONISLAV) BUCHMA ACTOR 14 MARCH 1891 � 6 JANUARY 1957 Amvrosii Buchma is the single most celebrated Ukrainian stage and screen actor of the first half of the 20th century. The last of nine children, born into the family of a Lviv railway worker Maksymilian Buchma, he studied at the Lviv Ukrainian language gymnasium, but was expelled for misbehavior. In 1905, his sister Olha assisted him in joining the longest standing Ukrainian professional theater, Ruska Besida (Rus Conversation) as a singer/dancer. An educational society of great influence dedicated to cultural development in Galician western Ukraine, Ruska Besida got Buchma's career off and running. During his first season, Buchma worked closely with Mykola Sadovsky and Maria Zankovetska who had founded the first professional theaters in the North-Central Dnipro River region, and were leading theater figures of the time. Their work also had great influence in the development of western Ukrainian theater. It was here that Buchma got to know Les Kurbas in 1912. Kurbas, an influential theater theorist committed to profound theater reform, would later establish the Ukrainian avant-garde theater movement. 345 At this time, the theatrical artistic director Yosyp Stadnyk altered the Besida theater's repertoire by eliminating vaudeville and operetta and adding plays by European playwrights. This diverse approach to theatrical repertoire called character actors. For the first time, Ruska Besida was performing plays by Gerhart Hauptmann, Henrik Ibsen, August Strinberg, Pierre Beaumarchais, Jean-Baptist Moliere, Oscar Wilde, and George Bernard Shaw. Operas performed by the theater included Bizet's Carmen, Verdi's La Traviata, Gounod's Faust, Offenbach's The Tales of Hoffmann, and Bedich Smetana's The Bartered Bride. At the start of the First World War, Buchma was serving as a non-commissioned officer in the Austrian army but was court-martialed and sentenced to death for slapping an officer in the face. His life was spared when the Russian Army occupied Peremyshl in March 1917, though from there he was sent as a convict-worker on the Turkestan-Siberian Railway. He escaped and made his way to the Donbas, where he worked in the mines. 1915 . � , . , , � , -' 1917 , . 1919 , , . , . 1920- ' , , . ( ). 346 , , . 1920 () . , , 1920- . Amvrosii Buchma in Berezil theater, early1920s . 1922 12 - , . , , , , , . , , , -, . - Sometime later, friends from Lviv helped him get into Mykola Sadovsky's Kyiv theater troupe. He used this opportunity to perfect his craft at the Lysenko Institute for Music and Drama founded under Hetman Skoropadsky. In 1919, Buchma fled Bolshevik-occupied Kyiv with the Ukrainian People's Republic (UNR) government, moving back to western Ukraine. After leaving Sadovsky's troupe, he organized his own -- The New Lviv Theater -- in Drohobych, becoming its artistic director. Buchma's troupe soon linked up with a faction of Kurbas' Youth Theater led by Hnat Yura, which had also fled Kyiv. The group named itself The Ivan Franko Ukrainian Drama Theater, and existed on support received from the Ukrainian Galician Army. Artistic differences between Hnat Yura and Buchma led to the latter leaving the company and, along with a small group of actors, forming Franko's Studio, which, too, soon dissolved. During the restoration of UNR rule in 1920, Buchma, according to his own questionable testimony, was involved in a secret assignment for the Bolshevik secret police, Cheka, and was further compelled to simulate insanity in order to evade UNR-directed repression against Bolshevik collaborators. 347 In 1922, Buchma and twelve more Franko's Studio were invited to join Kurbas' Berezil Theater-Studio. Kurbas, who had graduated from the University of Vienna, was greatly inspired by European Modern Art at the time. He was working on a philosophical construct of "theater that reflects the internal truth of the human spirit on stage." Kurbas developed his concepts along the lines of modernist European theater reformers, identifying transformation as the cornerstone of his philosophy. According to Kurbas, an actor must transform himself into an intelligent harlequin: an actor-philosopher in complete control of his corporeality. In order to develop his intelligent harlequins, Kurbas structured a comprehensive educational program stressing both physical disciplines and the humanities. His students were tutored in flexibility, gymnastics, acrobatics, and vocal training as well as declamation, mimicry, role composition, art history, philosophy, scientific technique, and rhetoric. But at the core of Kurbas' system lay experimentation. , 1920- . Amvrosii Buchma, early 1920s , � , , , ; � , , ; � , , . . , 1922-1926 . ' , , . 1923 , (1922- ' ), 348 . (1924) (1924) , � . , , , . , 1922 . Amvrosii Buchma playing Jimmy Higgins at Berezil theater, 1922 1926 , , . 1930 15 , � (1925), (1926), , (1928), . 1928 . : , Having mastered the concept of "transformation", Buchma became a leading actor in Kurbas' experimental theater; developing the singular characterizations of Jimmy Higgins in the eponymous play based on the Upton Sinclair novel, the fool-porter in Macbeth, brother Jean in Merimee's La Jacquerie, and others. Beginning in 1922, Kurbas began to experiment with cinematic art, often integrating filmed episodes into his staging. In 1923 he was offered work directing films at the Odessa Film Studio, VUFKU. Buchma followed, making his screen debut as a supporting actor in Kurbas' first satirical shorts, Vendetta (1924) and MacDonald, (1924). In his epic on the Russian Revolution, Arsenaltsi (Workers at the Arsenal), -- an inspiration for the Dovzhenko masterpiece Arsenal -- Kurbas employed a split-screen in order to show Buchma playing two roles simultaneously. , 1922 . Amvrosii Buchma playing Jimmy Higgins at Berezil theater, 1922 349 In 1926, after the Berezil company moved to the Ukrainian capital at the time in Kharkiv, Buchma left the theater and devoted himself to cinema, working steadily at the Odessa Film Studios. By 1930 he had starred in 15 films, notably: UkrAsia from 1925, the first Ukrainian action-adventure film; Taras Triasylo (1926), the first Ukrainian historical costume drama; the biopic Taras Shevchenko; and the psychological thrillers Jimmy Higgins and The Night Coachman, all from 1928. Buchma's performances in these films were nothing less than masterful. In 1928, the actor wrote the screenplay for and directed Behind the Wall, and appeared in Dovzhenko's Arsenal as well. Buchma's depiction in the film of a soldier-poison gas victim is rightly listed among the most dramatic scenes in the history of cinematographic art. �� , . , . , , , , 1920- . - , � � . �� !. 1930 , 1933 . , , , 350 , . 1936 � , � . 1941 � . , . (1928) Amvrosii Buchma in Heorhii Tasin's film Jimmy Higgins (1928) . .-. � (1945) (1947) . � .� � , , , , , , .� From the very start of his acting days Buchma gave serious attention to his make-up, always doing his own. He was hugely popular in 1920s Ukraine; well-known as a master of disguise and for playing marginal, intense, concentratedly laconic characters marked by an agonizing attention to dramatic detail and a profound psychological expressionism. The brutality of the Stalinist regime toward the Ukrainian national cultural renaissance didn't pass over Buchma. During the repressions he was formally accused of excessive psychologizing and insufficient revolutionary spirit in his characters. The regime even sparked proletarian opposition to his work with the slogan: "We are sick and tired of Buchma's psychological intensity!" Buchma returned to Berezil in 1930 and worked there until the theater was closed by the regime in 1933. In order to avoid imprisonment, Buchma disassociated himself from Kurbas who had been accused of bourgeois nationalism, imprisoned, and finally executed. From then until the end of his life, Buchma continued to deny that he had ever truly shared the opinions of Kurbas. Buchma acted in the Ivan Franko National Academic Theater from 1936, later becoming its director. He spent 1941 in Uzbekistan together with the company. After returning to Kyiv he was tagged to head the Kyiv Film Studios, taking the place of Dovzhenko, by then in disgrace. 351 In the post-war period Buchma directed theater and film, and taught at Kyiv's Karpenko-Kary Institute of Dramatic Art. Two roles of note from the time are his characterizations of Basmanov in Eisenstein's Ivan The Terrible (1945), and Leschuk in Boris Barnet's Secret Agent (1947). . , 1929 . Amvrosii Buchma's Cartoon. Kino Magazine, 1929 "Buchma could express the most complex of monologues simply with his eyes." SERGEI EISENSTEIN "I love to insert action into a pause. To work with objects. To be silent on stage. I think silence brings joy to art of acting. At this moment an actor becomes more than a co-author, more than an interpreter of literary text. He becomes an artist in his own right." AMVROSII BUCHMA ( ) 5 1887 - 7 1954 . . 1900 , , , , , 1906 � � . . 1907 , , . 352 . . 1917 , : ,, , 1920- . Yurii Shumsky, 1920s , , , . ". 1919 . 1925 , . 1926 , . , - (1926), . � YURII SHUMSKY (HEORHII SHOMIN) ACTOR 5 NOVEMBER 1887 � 7 JUNE 1954 Prominent in Ukrainian theater and cinema, Yurii Shumsky, the son of Vasyl Shumsky, was born into a large working class family in Tiraspol. The family moved to Kherson in 1900, where Yurii entered a classical academy. In 1906, by order of the Odessa regional educational directorate, he was expelled from school for "revolutionary activities." Following his expulsion, Shumsky worked for a while in an office at the Port of Kherson. He then joined a short-lived amateur theatrical group in 1907, which performed for a while at a professional drama theater. During the Revolution, Shumsky held a number of senior posts in the local Bolshevik party apparatus, finally receiving an appointment as the provincial social security commissar. 353 He was twice arrested twice during the Denikin army occupation. In 1917, he headed an amateur drama studio which was soon reorganized into the amateur Ukrainian Drama Theatre. He writes: "In the early days of the February revolution, with the help of a local garrison, we Kherson amateurs captured one of the city auditoriums. The hall was ours and the Ukrainian People's Theatre opened shortly thereafter." In 1919, Shumsky established the popular Kherson drama studio. , 1920- . Yurii Shumsky, early 1920s In 1925, Shumsky accepted an appointment to the recently established Odessa State Drama Theater, a hotbed of Ukrainian avant-garde theater. In 1926, he got his first film role in a picture by Volodymyr Vilner, the script by Isaac Babel; Benia Krik. In his next few films, among which was the Dovzhenko directorial debut Vasya, the Reformer, Shumsky received mostly minor roles. His most celebrated part came as the counter-espionage officer in Heorhii Tasin's The Night Coachman from 1928. (1928). , , . 1931 , , , , . , . 1934 , �� . 354 . ., , , , , . . i i i i (1929) Yurii Shumsky in Heorhii Tasin's film Night Coachman (1929) ' - , � . " ,," , , , . ." His convincing portrayal of the cold-blooded, unscrupulous, and arrogant cutthroat served in brilliant juxtaposition to the defenseless, goodnatured coachman played by Amvrosii Buchma. In an attempt to counterbalance Les Kurbas' Berezil avant-garde theater, efforts at artistic repression were intensified. Soon, by order of the Kharkiv Bolshevik Party leadership the State Theater of the Revolution was established with Marko Tereshchenko, director of Odessa State Drama, at the head. Shumsky was naturally enlisted in the new theater company, where he worked until 1934, the year that Berezil was dealt a final, decisive defeat, thus eliminating the need for the existence of a "model proletarian" theater and along with it, Shumsky's acting job. Transferred now to Kyiv's Franco Drama Theater, Shumsky joined a strong company comprised of actors like Amvrosii Buchma, Natalia Uzhvii, and Hnat Yura. It was here, on the Franco Theater stage, that Shumsky played his greatest roles. 355 Further, sporadic film work in propagandized documentaries like The Third Blow, and The Battle of Stalingrad earned Shumsky overtly political first and second degree Stalin awards, the highest decoration of the time. (1926) Yurii Shumsky in Volodymyr Vilner's film Benia Krik (1926) "This is an `internal' actor -- in the best sense of the word -- with a colossal, if I can say it, creative breadth to him. His range is immense." OSTAP VYSHNIA II , . , ' : 1928, ' , . , , . , , , . 356 � ( -) � : , . , 1928 . Maria Doucemetier, 1928 . � (1928). , . � - , , , ' . MARIE DOUCEMETIER ACTRESS DATES UNKNOWN Sadly, biographical information available on this outstanding Ukrainian actress is woefully inadequate. It is known only that the entire acting career of Miss Doucemetier encompassed a single year: 1928. During that year, she played in five pictures from the Odessa Film Studios (VUFKU), landing the starring role in two. She first appeared as an extra in the Volodymyr Vilner film, Eyes That Saw, the screenplay by Solomon Lazurin. In her very next film, Behind the Wall, a psychological thriller and the directorial debut of Ukrainian actor Amvrosii Buchma, she received the leading role. Her next role was in Hryhorii Hrycher-Cherykover's film adaptation of the Aleksander Kuprin story, Gambrinus, entitled The Day Before. 357 The film, with Buchma, Petro Masokha, and Yurii Shumsky in leading roles, was wildly popular among the viewing public. Doucemetier played a part rare to Ukrainian cinema -- that of a prostitute. , 1928 . Her most famous role came as Katia, the daughter of lead actor Hordii Yaroshchuk in Heorhii Tasin's 1928 psychological thriller The Night Coachman. The film is widely regarded as one of the greatest films of the Ukrainian silent film era. European and Ukrainian critics lavished high praise on the film, marking especially Doucemetier's intensely convincing portrayal of the coachman's daughter. Maria Doucemetier, 1928 Doucemetier's final picture was Mikhail Okhlopkov and Joseph Rona's science fiction vehicle, Appetite for Sale. The film enjoyed an uncommon popularity in Ukraine and abroad, especially in France, where it had its European premier. 358 , , � , . . - , - , , . 2007 , . , . 2010 , , . - Deus Ex Machine : , , , Poema, DEREVO, , Odddance. - . . ' 19 2010 . ARSENI TROPHIM This youthful Russian pianist and composer is enjoying an enviable level of success charting a wide range of musical interests, from jazz to new directions in experimental and electronic music. From a small town in the Russian Arctic, Trofim studied free-jazz improvisation, modern-classical, and impressionism at Archangelsk Musical College. In 2007, he moved to St. Petersburg where he pursued film scoring and sound production at the University of Film and Television. In 2010, he initiated the only, ongoing, live film accompaniment project in the former soviet space. For the project, Contemporary Live Music Cinema (Sovremennyi Tapersky Kinozal), he has composed scores for more than thirty international masterpieces in the silent film canon, giving performances in Russia, Belarus, and Ukraine. Arseni Trofim is also the author of the multidisciplinary art project Deus ex Machina, which involves many of the most important artists from Russian alternative music and Russian contemporary theater: Sergei Letov, Maxim Didenko, Vladimir Bessonov, as well as the Poema, Derevo, Axe, and Odddance theaters. At present he is recording a solo piano album and preparing to join the St. Petersburg Conservatory. He is an author of short-fiction and neodadist poetry. On 29 June 2010, Arseni Trofim premiered his musical accompaniment to Heorhii Tasin's 1928 silent film masterpiece The Night Coachman at the Mute Nights Festival of Silent Film and Contemporary Music, in Odessa, Ukraine. 359 : , , ' , I , , , : i � 2011 � 2011 i ii I i i Authors: Larysa Briukhovetska, Lubomir Hosejko, Vyacheslav Kasim, Ivan Kozlenko, Stanislav Menzelevsky, Oleksii Radynsky, Serhii Trymbach Design: Rustem Abliakimov � 2011 The State Film Agency of Ukrane � 2011 Ivan & Yurii Lypa Charitable Foundation 361