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Jan 22, 2024
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this is a podcast of lisenstein's witness, hosted by us, film historian stanislav didinsky and natalyast, or i am 20 years old. actually, the film was decided remake it in some way in order to smooth out this confrontation between generations. shpalikov, the co-author, didn’t want to redo it, it won’t work. khutsiev was ready to make cuts, shpalik was ready for a certain moment, but then he couldn’t, what else was the main problem, that in general the generational conflict was already visible at the level of the scenario, and many people noted this, and even when we read transcripts of artistic councils, at which director gerasimov and shpalikov personally discussed some individual moments of this dream. you could see how hard it was for them find a common language, it’s just that these are people not just of different generations, different decades, they just think differently, and all this, of course, later manifested itself clearly in the script. shpalikov in general was not the kind of person who could be forced to redo something for a long time ; after all, after the second or thi
this is a podcast of lisenstein's witness, hosted by us, film historian stanislav didinsky and natalyast, or i am 20 years old. actually, the film was decided remake it in some way in order to smooth out this confrontation between generations. shpalikov, the co-author, didn’t want to redo it, it won’t work. khutsiev was ready to make cuts, shpalik was ready for a certain moment, but then he couldn’t, what else was the main problem, that in general the generational conflict was already...
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Jan 27, 2024
01/24
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didinsky, talk about who and how created and watched classic, famous, little-known, forgotten sovietted in film magazines, which were shown before each show, in fact, here is your news. which gives hope, well, here it must be said that firstly, military operators, they appear before the start of the great patriotic war, in the spring of forty-one they form such a small brigade of three people, in my opinion, which should be with the active army and this is some kind of pre-replacement of front-line operators, then it is clear that in june 1941, many filmmakers were either drafted to the front or sent to slezary’s militia, and teachers, artists and steelworkers joined fighter squads, workers ’ battalions. this film, the defeat of the nazi troops near moscow, was personally controlled by stalin, he was the main viewer of soviet cinema in the thirties , he looked through almost everything that was done in soviet studios, edited the scripts, changed titles, removed directors and so on, and this film... despite the fact that in the future he had other more worries, he moved away from, say
didinsky, talk about who and how created and watched classic, famous, little-known, forgotten sovietted in film magazines, which were shown before each show, in fact, here is your news. which gives hope, well, here it must be said that firstly, military operators, they appear before the start of the great patriotic war, in the spring of forty-one they form such a small brigade of three people, in my opinion, which should be with the active army and this is some kind of pre-replacement of...
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Jan 20, 2024
01/24
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didinsky, talk about why you need to watch soviet cinema now, how to get even more pleasure from it, its secrets. we are talking about classic, forgotten, little-known, well-known soviet films. today our issue is dedicated to the centenary of the great director, artist, soviet director and artist sergei porojanov. we will talk about his work with a researcher of this very work and life. parajanov, journalist gagik karapetyan, author of the book apple and pomegranate, tani nagura and sergei parajanov. hello, hello, i would like to start with the fact that we have known parajanov since the sixties, well, parajanov is already a world-famous director, but before that he had worked quite a bit in cinema. what was he doing before this time? classmate of grigory chukhrai, and apparently paradzhans. when we look at the creativity today, a man of a different generation, sometimes it seems that he came to cinema quite late, that he almost no later than tarkovsky began to work, although in fact he was, in general, much older than his young colleagues who became famous during the cinema of the o
didinsky, talk about why you need to watch soviet cinema now, how to get even more pleasure from it, its secrets. we are talking about classic, forgotten, little-known, well-known soviet films. today our issue is dedicated to the centenary of the great director, artist, soviet director and artist sergei porojanov. we will talk about his work with a researcher of this very work and life. parajanov, journalist gagik karapetyan, author of the book apple and pomegranate, tani nagura and sergei...
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didinsky, talk about who and how created classic, cult, and beloved ones. little-known and forgottenn more fun. today we have an unusual episode, we will talk about new year's films, new year's films and cartoons, about how this tradition developed and what it means to us. let's try to start from the very beginning, what was at the beginning, when all this appeared? well, if we talk about... russia, about the russian empire, all this appeared, of course, almost simultaneously with the advent of cinema in russia, because the first cartoon, namely a cartoon, a three-dimensional puppet cartoon was released in 1912, more precisely, at the end of 1912, they watched it for quite a long time in the russian empire, this is a cartoon by vladislav starevich, the father of russian animation, and christmas, the inhabitants of the forest. the year 12 , 1912, is considered the year of the birth of russian animation, which recently celebrated its 100th anniversary, we have a fragment from this cartoon, we can watch it. of course, it’s hard to recognize santa claus here, yes, he’s some kind of old m
didinsky, talk about who and how created classic, cult, and beloved ones. little-known and forgottenn more fun. today we have an unusual episode, we will talk about new year's films, new year's films and cartoons, about how this tradition developed and what it means to us. let's try to start from the very beginning, what was at the beginning, when all this appeared? well, if we talk about... russia, about the russian empire, all this appeared, of course, almost simultaneously with the advent of...
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Jan 17, 2024
01/24
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didinsky, talk about why you need to watch soviet cinema now, how to get even more pleasure from it,soviet films. today our issue is dedicated. the centenary of the great director, artist, soviet director and artist sergei parajanov. we will talk about his work with a researcher of this very work and life of parajanov, journalist gagik karapetyan, author of the book apple and pomegranates, tanya nagura and sergei parajanov. hello. hello. i would like to start with the fact that we have known parojanov since the sixties, well, parajanov is already a world-famous director. but before that, he had already worked quite a bit in cinema, what was he doing before this time? classmate of grigory chukhrai, and parajanov, as if , when we look at the work today, a person of a different generation, sometimes it seems that he came to cinema quite late, that he began to work almost later than torkovsky, although in fact he is generally then he was much older than his young colleagues who became famous during the cinema of the otebel era, it seems to me that we must definitely say that he will lose
didinsky, talk about why you need to watch soviet cinema now, how to get even more pleasure from it,soviet films. today our issue is dedicated. the centenary of the great director, artist, soviet director and artist sergei parajanov. we will talk about his work with a researcher of this very work and life of parajanov, journalist gagik karapetyan, author of the book apple and pomegranates, tanya nagura and sergei parajanov. hello. hello. i would like to start with the fact that we have known...
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Jan 11, 2024
01/24
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didinsky, and, a film historian, my colleague natalya ryabchikova.rtist sergei parajanov. why were you interested in the figure in general? and in general, how did you get to the point where you wrote a separate book, not only about him, but also about guera? the idea is that i am in my profession i have no direct connection with cinema, i am exclusively a newspaper journalist, and what interested me most was his 15 years of silence, in fact these 15 years were creative years, i can even tell you that in one of the camps... a film was even shot at the request of the ministry of internal affairs of ukraine, the film was simply a documentary , the script was written by parajanov, few people know about this, but the director of this film is alive and well, gave me an interview, and accordingly he talked about the experiences of parajanov, who naturally had no right to appear on camera , exactly camera, and felt that the person was bored and... so there is really one frame that you can see sergei iosich, as if he were there in the corner, but this sugges
didinsky, and, a film historian, my colleague natalya ryabchikova.rtist sergei parajanov. why were you interested in the figure in general? and in general, how did you get to the point where you wrote a separate book, not only about him, but also about guera? the idea is that i am in my profession i have no direct connection with cinema, i am exclusively a newspaper journalist, and what interested me most was his 15 years of silence, in fact these 15 years were creative years, i can even tell...
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Jan 27, 2024
01/24
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didinsky , we talk about who and how created classic, famous, little-known, forgotten soviet and russiant, because today we have a living person as a film archive, we will talk about the film “it’s hard to be a god” by alekseyevich. where yura directed and played the main role of khrustalev the machine, khrustalev the machine, yes, but then, when we were making a movie, it seemed to me that our film was even more complex from the point of view of audience perception, for example, my wife, she adores herman’s films, because she is an artist, i generally believe that he made feature films using documentary means, for this he he had special operators, fedosov. with whom i worked for many years, and not without my participation , yuri viktorovich klimenko joined this team, who shot almost, well, more than half of this picture, some things i understood, some things i didn’t understand, we are very we quarreled because we had different views, well, as an actor who must experience doing something on camera, we had different ideas about how it was experienced, but was there soviet science fictio
didinsky , we talk about who and how created classic, famous, little-known, forgotten soviet and russiant, because today we have a living person as a film archive, we will talk about the film “it’s hard to be a god” by alekseyevich. where yura directed and played the main role of khrustalev the machine, khrustalev the machine, yes, but then, when we were making a movie, it seemed to me that our film was even more complex from the point of view of audience perception, for example, my wife,...
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Jan 17, 2024
01/24
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i am film historian stanislav didinsky and film historian my colleague natalya ryabchikova.talking about the centenary of the director and artist sergei parajanov. why were you interested in the figure of parajanov in general and how did you get to the point where you wrote a separate book, not only about him, but also about guera? the idea is that by my profession i have no direct connection with cinema, i am exclusively a newspaper journalist, and what interested me most was his 15 years of silence; in fact, these 15 years were creative years. i can even tell you that in one of the camps a film was even shot at the request of the ministry of internal affairs of ukraine, the film is simply a documentary, the script was written by parajanov , few people know about this, but the director of this film is alive and well, gave me an interview, and accordingly, he talked about parajanov’s experiences, which naturally he did not have the right to appear in front of the camera, namely the filming camera and... and it was felt that the person was bored, so there is one frame there ,
i am film historian stanislav didinsky and film historian my colleague natalya ryabchikova.talking about the centenary of the director and artist sergei parajanov. why were you interested in the figure of parajanov in general and how did you get to the point where you wrote a separate book, not only about him, but also about guera? the idea is that by my profession i have no direct connection with cinema, i am exclusively a newspaper journalist, and what interested me most was his 15 years of...