century, the light was pulled out, and starevich had a producer, of course we didn’t call him that then, but alexander khonzhonkov, the first russian, a real film profiteer, as they said then, a film producer, he took starevich under his wing, yes, he understood that this strange little man, who prefers to do everything himself, turns the handle of the movie camera himself, makes his animals himself,

for the magazine kovinskoe zerkalo, in the end decided to go to moscow, which was the cinematographic center of the country, to alexander khanzhonkov, so that together with him to work for him to shoot his strange films, and alexander khandzhunkov took a risk, made a bet, he did not yet know that starevich would become not only a master of animation, but also of special effects, which he masterfully created in his later feature films, where he again used the stop-motion method in order to, for example, create. rock devil in pocket kuznetsov in shark in the film the night before christmas. well, if we talk about his sense of humor, well, let's remember his second film local operator, there as the main character is a grasshopper, who is from the place, and mr. zhukov, who is having an affair with a strykoza dancing in the cabaret and a cheerful strykoza, this grasshopper is in love with her, films the scene of adelter on a movie camera, through a keyhole, then at the end of the film demonstrates. this and this

is another amazing example of ostarevich's skill as a master of special effects, on the cinema screen, and we see a film within a film, let's see,

actually, here we have a parody of a salon melodrama, we have a married couple, a husband who loves to go on a business trip, on this business trip he first visits a cabaret where a beautiful srekoza dances, and then goes with her to the damour hotel, that is, the hotel. of love, where the grasshopper he offended goes, who also works as a cameraman, this strange apparatus on a tripod, in which he turns the handle, this is the same movie camera, and he is the same offended cameraman, cinematographic, then we are shown what mr. zhukov's wife, the bug, is doing at this time, her lover, the artist usachini, comes to her, husband and wife

go to the cinema there we see some absolutely incredible scene by the standards of again 912 100 years ago we have a screen in the screen, moreover, we see another film inside the film, in order to believe it, it seems to me, you need to watch it too.

starevich very accurately captured the risky nature of cinema, because the world is spied through the keyhole. in fact, he plays very well, he feels the audience of viewers, for example, here is another story about his specific sense of humor understanding the work of the psychology of the viewer preserved in memories of how he, he was engaged not only in puppetry. animation, but also in drawing, there are well-known experiments of his in this area, in general, he drew a fire on the screen, he took a film, scratched it on it, and how it flares up, typical examples of how a fire starts on film, sometimes the film caught fire, it was made of flammable materials in those days, so he drew

a scene of this fire, when this film called new year's joke began to be shown on the screen, the audience, having seen first the grandfather frost, and then a spot that spreads like in a fire situation on the screen. left, and settled in france, the main method of animation of the soviet became animation, because it was apparently faster, yes, it was more profitable, because it was possible to draw all sorts of maps in newsreels, or they used re-laying, they made flat pieces of figures and then re-layed them

by millimeters, but it was still easier than the three-dimensional dolls of starevich, of course he had absolutely manual labor, and most of the cartoons in the twenties were political, sometimes they were cinephilic. true, when artists drew their favorite movie stars, they would put them together in one film, charlie chaplin, harold loyd, mary pickford, a soviet girl would get into this drawn hollywood, but still there were more like this priest, soldier, dzigavertov made one of the first soviet cartoons, which was called soviet toys, a straight populist caricature, so they storyboarded it, like now with us and new year is not new year. starevich congratulated on the new year, and digovertov hangs it on his christmas tree new year's all the obsolete heroes before revolutionary russia and further, in fact, puppet animation begins to revive only in the thirties, when sound films appeared, when new people appeared

who were interested not just in dolls, but also in the combination of dolls and people, what was that? to say that these were some kind of unprecedented experiments, but for soviet animation, of course, this was generally a novelty, because, well, firstly, in the twenties they did not understand for a long time, and what to actually do with this animation, there were artists, but enthusiasts, here is ivan ivanov vano, one of the luminaries of soviet animation, who was inspired by the films of starevich, who began working in a small animation workshop at the film factory of nazhor pomrus, where they made advertising films by and large, animation was of an applied nature, it had to advertise ... goods, new films, create titles for feature films, by the end of the twenties , the country begins to realize that perhaps animation needs to be put into a more meaningful applied channel, to start working for children audience, to win the hearts of children's audiences, to create not just propaganda films, but films that will motivate children, well

, i don't know, to become pioneers, to behave well, that is, the film adaptation of fairy tales begins to one degree or another, at this time some experiments begin, and the first appears...

here the artist was sarah mokel, she actually created all these dolls, and she was even awarded a special diploma for creating types at the first moscow festival, which was in the thirty-fifth year, here is the second prize at this festival, by the way, all disney received for the three little pigs, yes, in fact, this is a very important event in the history of russian animation, because in 1935, when the festival took place, fedoritchruk, the future author of vini. ukha, the history of a new crime, a few wonderful classic soviet films that came out many decades later, came to one of the sessions,

he fell in love with animation so much thanks to disney films that he decided to stay in it for the rest of his life, to work in this direction, well, actually, in general, the thirtieth characteristic the fact that soviet animation oscillates like a pendulum between two policies, between disney and the need to rely on our own domestic traditions, even if such a slogan arises. in the fight for the soviet mickey mouse, when they literally copy disney technology, in general , all the aesthetics and style, and copy animals in large quantities, such a kemetographic zoo arises, then all this , on the contrary, is expelled from the screens, well, partially, let's say, ae the method of retoscope is eradicated, when we call it the eclair method, because the machine on which these animated films were created, the company was called firmikler. so this eclair method in general after military animation dominates and just the same

experimenter mikhail tsikhonovsky, who was very much scolded in the thirties for his formal experiments with the film adaptation of the fairy tale about the tsar, sorry, the fairy tale about papi workers balda, scolded in formal experiments and even destroyed this film, he in general becomes such a main, one of the main adepts of this eclair method, which in in general, what it is, that first real actors are filmed on film, then they... are not even redrawn, and then, in this way, such a lively film will be obtained, and this continued until about the beginning of the sixties, when the so-called aesthetic revolution occurs in soviet animation, all those films appear that we know, love, adore, in general, constantly re-watch, this is a podcast witness lizenshteyn, i am film historian stanislav tidinsky, with me in the studio is my colleague, film historian, natalia ryabchikova. and today we we are talking about russian animation. actually, one of such important films was shot by lev

otamanov, a wonderful soviet animation director who personally knew starevich, because as soon as the borders opened and russian animators, soviet animators, began to actively travel to foreign chemical festivals, lev atamanov and ivan ivanov vano first of all ran, having got to paris to visit starevich, to get to know him personally. well, then, what happened next? and then? soviet animators began to create their classic films, one of which classic films began to be watched by other animators began to go abroad, this is where the influence began, including on japanese anime, which today, well, sort of dominates the world, but then in the 50-60s, soviet films were just getting there, and japanese animators watched with great interest and surprise, well , for example, the snow queen by lev atamanov, let's look at the program, i...

hayau mizaki himself loves to tell, this is often repeated in various interviews, that for him, otomanov's film became an absolute some kind of visual, conceptual breakthrough, it was so different from what existed in japanese animation at the time that meizaki made it his main source of inspiration, and visually, yes, how it looks, and how the characters are decided there. my snow queen, gerda, how they develop and so on, in principle, he

was very much delighted by this ability of soviet animators to draw, color, create images, heroes, here we need to mention not only, let's say, directors, but about the artists, animators who created the images that we know and love to this day, here, of course, the main figure, it seems to me, at least by... shvartsman, who died just a couple of years ago, at the age of over 100 years, and we know him. as the creator of cheburashka, yes, leonid shvartsman is not just an artist, an animator, he is a master of image, because, well, probably, the lion's share of all the characters that we know and see on the screen in our favorite soviet animation, this is shvartsman, this is a kitten named gav, this is cheburashka, this is the snow queen, where she was one of the artists,

animators and came up with these images, in general, very often artists, animators - this is a large team, different specializations, someone has one strong side, someone else another, but shvartsman had the ability to come up with a character that, in general, no one else saw the way he saw it, for example, cheburashka, the form that we all know, was invented by shvartsman, other artists who illustrated books eduard uspensky, there were absolutely other contours, the proportions of this character are out of this world, yes, it was precisely leoninde orovnich's idea, who, let's see. of course, pioneers, pioneers, the most real ones, i would also

like to do so. walk, walk, you need to do a lot of good to become a pioneer, understandable, understandable, understandable, here another, it seems to me, element arises that makes soviet animation of the sixties, seventies, even eighties, so popular on a mass scale, so popular to this day, when according to a survey, i think, in 2014 a survey was made in the year, what...

vivid examples, on the one hand - this is a continuation of the universe of eduard uspensky, on the other hand, this is actor animation, here are the images that animators come up with for their heroes, cheburashka gena, the crocodile, how they should move on the screen, but the nature of animation

lies in the character of the character is manifested precisely in the nature of the movement, and an additional background in the case of prostokvashina - these characters life such a spark or something, and let's say, in vinafukh, if it were not for leonova, if it weren't for this vinepukh of ours, which is completely special, which even among... some viewers abroad is often rated higher than disney's vinepukh, maybe it's completely different, yes, and prostokvashino was loved by so many because on the one hand it's a very literary story, it hit a nerve with soviet viewers, and in many ways it's a story about assimilation, oddly enough, about how children try to be independent and adults, well, in general, why is this story still

relevant and alive, why is it being filmed continuation in our time, because there is such a potential that allows a... well , how can children take as an example a certain role model of uncle fyodor, he is also uncle, how can a boy be an uncle, that is a big question, and there are again talking dogs, cats, why are they talking, no one doubts this, everyone takes it for granted, let's remind the viewers what it looks like, you will go with me, i went to kobadinba, and the cow is mine, the farm, supplies for the winter. you are a ball, we will stay, you better do it yourself come to us, visit us on weekends during the holidays. wait, wait, here. take this, you 'll have more fun with it. who's that? it's me, postman pechkin, i brought the murzilka magazine.

oh, how awkward. we completely forgot about pechkin. and rightly so, he's so naughty. excuse me, why was i naughty? because i didn't have a bike. and now i 'll start to be kind right away. and i'll get some kind of pet to live more fun, you have nowhere to go, so you're showing off, why are you pretending to be yourself, go away, go away, why are you falling apart, get out of here, vladim, i can't live with you anymore i can, we need to do something, you, when you give us the money back, we will cripple you, and if you don't, we will kill you, what do you need, they told you, another one has appeared, you know another one, why are you walking, walking? so why don't you tell me, what is going on with you and her? between us, of course, she is pregnant, she is telling everything, i am sure, we have 15 years in prison, i

promise you, they did not share the woman, look, he did not find anything better than to kill his rival, now he is making excuses, he said he shot in the wrong place, i can't live without you, the premiere is on monday first, once in... they gave apple trees toys, fogs floated over the river, let the clumsy pedestrians run through the puddles, and the water on the asphalt like a river, i whip my horses, whip them, drive them. klevlyushki lay down for a raft and

i'm still old that at night since september 6 on the first one, what's important in these? eh, for a child viewer and for an adult viewer, the first thing that comes to mind, of course, is the example of smeshariki, what's their gimmick, why are they so popular, well, because smeshariki,

of course, and at the same time as a good series, as a good animated film, tries to reach a wide variety of audiences, there is something there that adults can understand, over which adults can change, in general, it is really a family movie, but at the same time, sometimes individual episodes, children of course do not notice this, reproduce some adult films. for example, there i don’t know, some hollywood movie or hitchcock there, well, in general, there can be anything, it is very unexpected in terms of twists and turns, and the presentation of the material is a series, and you correctly noted about the author’s approach, because smeshariki is not just a series, which is one of many, this is a series, one of the creators of which was anatoly prokhorov, a man who stood at the foundations at the origins of the film studio pilot, the animation film studio pilot, which was created by tatarsky and kovalev. remember, plasticine crow, last year's snow was falling, these people, here they are all eighties, when it became possible, decided to found their own animation studio, and there, well, in general

, a lot of masterpieces were created, this is the dna, which i will emphasize, in my opinion, after all, starevich, again, if remembering him has an important meaning, symbolic, of course, not direct, but for all our domestic animation, here the author's approach has always dominated, in smeshariki this also clearly appears, this is of course a franchise,

well, for example, a simple chain, ivan ivanov vano considered his spiritual mentor, teacher starevich, and his teacher stanislav mikhailovich sokolov, who shot the film govmaniada, a few years ago, this is our , probably the most famous, modern master puppeteer, was just ivanov vano, here is a direct line of succession, the same with khitruk, yes, his students today are konstantin bronzit, who received an oscar for his film, and today shoots full-length films for the melnitsa studio. and about the heroes, yes, he participates in their creation, alexander petrov, for example, works in a unique style, painting, such on glass, yes, the old man of the sea, for which he received an oscar, and this is mikhail aldashin, such a wonderful master, who shot the film bugashki, well, and many others, all these people are either direct students of fyodorich khedruk, or people who, in general, have succeeded thanks to him, owe him something, they work

in commercial projects, in those projects that they do for the soul, let's say so, yes, khitruk, in general, in my opinion, learned from everyone around him, taught further than others, and - what he did in the sixties, in general, in my opinion, is still unique, when he - brought not one technique, immediately some scattering, some fantasies, a set of techniques, when he, uh, somehow fantasized, gushed with these fantasies, when he even made a cartoon about cinema, film...

you know what seems terribly interesting to me in this film is that in addition to showing how difficult it is for a work to be born, in principle, for an artist, the art director also shows how difficult it is for a soviet work to be born, how they walk along these endless corridors, where they either increase the script, or offer to shorten it, or they don’t like something else,

visas, redo everything, yes, yes, and the most wonderful thing is that if you delve, as we did, into the history of the creation of this cartoon itself, film film film, there is the same thing the most in the transcripts, when they say to the cunning: are you showing our film industry correctly, our film industry, and the viewers will not create the wrong impression, or maybe we should do it this way, or maybe we should do it this way, or maybe we shouldn't show so much, and what did you want to say here, the cartoon union was an amazing, amazing organism, under the umbrella of which, in general, under the umbrella of soviet... animation, people hid from some storms, social, political, life, the years of the late soviet union, yes, you could sit there, work quietly, get maybe a small salary, the budget of an average domestic soviet feature film, well, that's about several budgets, several dozen animated films, well, that is, the money that was sent, released for the production of soviet animation was much less than the money that was used to create some giant films, yes, about the great

patriotic war, that's it... the union of cartoons was such an umbrella, where people came some storms, worked quietly. yes, there too there were difficulties, but it was precisely because of this , because it was a bit of a typical atmosphere, that those masterpieces that we know today appeared there. amazing experiments appeared there, which again, after several decades , are reviving, including frame-by-frame, what we now call stop motion, starevich's animation. here we can recall the wonderful cartoons of the late eighties, which were made by harry barden. we have a small fragment from the film "marriage".

it is generally some kind of amazing, then he has plasticine, well, plasticine, he has matches, he has some nails, he has... are they suitable, be it beetles or two strings? this

was a podcast of witnesses from einstein, i who for this initially absolutely not a film historian natalia ryabshchikova and my colleague stanislav didinsky, we talk about who and how created domestic films and cartoons about how we can... understand them better and get maximum pleasure from them, bye, thank you very much, goodbye, hello everyone, on air on channel one podcast everyone wants to fly and i am its host leonit yakubovich, today we will... we will not fly anywhere, we will remember today about a person, but if not legendary, then in any case outstanding. the name of this person in the soviet union was always hushed up, all his achievements, although they mostly came to light before the revolution, were crossed out from all

publications. we will talk with you today about a person whose name was igor sikursky, an outstanding aircraft designer. but we will start with this. may 25, 1889, in the family of a famous psychiatrist, the family was well-off, moreover, i repeat, she occupied a very serious position in society, therefore, according to the established tradition in the family, the boy was baptized exclusively, like his older sisters and brothers, only by members of the imperial family, in this case the boy: the emperor's cousin and therefore his wife, the grand duchess, baptized him. at the baptism, the boy was given the name igor. naturally, his mother adored the boy, read him various fairy tales, but what is characteristic in

the story about the great leonardo devincha, she showed him a picture of a certain structure, which a great inventor, scientist and artist, one day suddenly, you could say, wandered in, here is a design. this design is quite reminiscent of a modern helicopter. in general, i must tell you that the idea was born a long time ago, in that century bc, in china, someone, it is unknown who, paid attention to how an acacia leaf falls, this is easy to check if you throw, yes, any leaf, but an acacia leaf is better in my opinion, it falls. not down, it starts to rotate like this along some strange trajectory, only then lands. once, i repeat, in the century bc, in china there was a toy like this, a stick with two petals attached to it,

made of fabric, of material, you could twist the stick like this, let it go, it wouldn’t fall down, but would spin in the air for a while, it was a kind of children’s toy, we ’ll tell you later that it was from this, from this very toy that the idea of ​​creating such an image of machines was born, perhaps leonardo knew about this, but nevertheless, what he drew, what he invented, did, of course, caused unspeakable surprise in general for those who ever saw it, and igor was completely shocked, and seeing, probably, this is where his love, his dream, about the sky began, when he saw this picture, and he was, i think, 3 or 4 years old, maybe a little older, he asked the servants in the house to stretch a rope for him between two

trees, on which they hung a cradle, at a height of about 3-che, and he sat in this cradle felt himself in the sky, in the air, while his relatives, while his friends, friends ... older brothers and sisters played, he sat in this ice for hours, imagining as if he was flying, then more, he learned, his parents sent him to study at... the st. petersburg naval cadet corps, after, i think, six months, he suddenly and unexpectedly told his parents, i'm tired of it, this is not my thing, that's the argument, he insisted and got his way, in 1906, he went to a technical school in france, such a "duveni" de lonno, at that time a fairly well-known person, somewhere around six months passed, maybe a little. he returned in 1908, he entered

the mechanical department of the kiev polytechnic institute, where there was an aeronautics section, which mozhaisky's students were in charge there and so on. in his second or third year, he invented a steam motorcycle, which made him absolutely famous at the institute, without finishing, well, probably, it had already become a habit at the institute. he left in 1908, he began building his first helicopter, i must tell you that this was an incredibly technically complex matter, and at that time, i repeat, this was the beginning of the century, nevertheless, in 1909, he completed the construction, i am now holding in my hands not his helicopter, of course, i am holding in my hands the legendary letter, but nevertheless, what was... it's clear, he always dreamed that the helicopter would be exactly like this, i

'll explain later how this helicopter differs, this is a helicopter scheme from many others, but for some reason he always wanted to make a helicopter with one propeller, the helicopter couldn't get into the air, that is, it grumbled, of course, they started it, but it couldn't get into the air, nevertheless in 909 he gathers his family and asks to finance his trip to paris, his older brother was categorically against it, because sending young sosunok to paris, and even with a certain amount of money, this is generally speaking it is dangerous, however, having shown character, and this will be useful to him throughout his life, he insisted on his own, the family allocated funds and he went to paris to study with the famous designer ferdinand ferber, ferber, i must tell you, at first, immediately explained to him that it is easy to invent a helicopter,

it is more difficult to build it, it is impossible to lift the air at all, and he cited as an example all the living creatures that existed at that time on our planet, still exist, which ran on the ground, and from which never no one had ever taken off into the air, let's say higher than about one and a half meters, but sekorsky was a man, i repeat , of an un... probable character, he decided that this would be done, he quit, by the way, helicopter construction, it didn't work out, it didn't work out because there simply wasn't enough theory, it just wasn't clear yet, many parameters, aerodynamics, how the propeller should rotate, what the blade configuration is, well, a lot of things that didn't exist then, he left this occupation for a while and began to study aircraft construction, on the eighth in june 1909 he built his first c2 plane and made

a flight, a small, short one, but nevertheless he made it, that very first plane, with the handles, of course, the inventor himself, he never allowed anyone to lift the machine of his own making, now he is in furashkhi, but everywhere, everywhere in all subsequent photographs, he is in his traditional... this is a legendary photograph, it must be said that sekorsky, who did not graduate from the institute, it suddenly turned out that he did not have a diploma, and his comrades in aircraft construction, wrote a collective letter to the kiev polytechnic institute, with a request, well, for his services to issue him a diploma, and sekorsky did not simply receive a diploma for... success in the construction of the first aircraft.