decision to start a career in cinema, by their own admission, they owe claude lish andrey konchalovsky sergey solovyov forever alive first, he khrushchev's thaw and received a second birth, first on the stage, and then on the screen directed by mikhail kolotov. the soviet audience accepted the tape enthusiastic. but the international success of her getting to the cannes film festival. the director claude lilouch decided the case. during an excursion to mosfilm in 1956 , she saw the work on a film by cameraman sergei urusevsky and immediately recommended the film for selection for a film festival. in cannes, in the same way, cinema in our camera work stands apart, like mayakovsky in poetry, his hand-held camera, and before him, of course, was used. a manual camera, like a technique, here, since no one did it, not before not after it is absolutely, then is, an expression of his his nervous system. the artist , a student of rodchenko and favorsky, was a front-line operator during the war years. he took it to a new level. not only working with a handheld camera, but also to a large extent revived the pict

decision to start a career in cinema, by their own admission, is due to the fruit of andrey konchalovsky sergey solovyov, a play by viktor rozov, which was banned for 13 years. forever alive with the beginning of khrushchev. the thaw got a rebirth first on theater stage, and then the monks on the screen staged by mikhail kolotov. the soviet audience accepted the tape enthusiastically. but international success and getting into the cannes film festival. the director claude li puddle decided the case. during an excursion to mosfilm in 1956, i saw the work on a film by cameraman sergei urusevsky and immediately recommended the film for selection for the cannes film festival, in the same way that cinema stands apart in our camera business, like mayakovsky. on the train, his hand-held camera . ah. he uh and before him, of course, a hand-held camera was used as a technique, but in the way that no one did it, neither before nor after that. that’s probably that’s the expression of his nervous system, the artist, a student of rodchenko and favorsky, during the war, urusevsky was a front-line cameraman . he took

decision to start a career in cinema, by their own admission, owes the fruit of lilush, andrey konchalovsky sergei solovyovlay by viktor rozov, banned for 13 years . forever alive with the beginning of khrushchev. thaw received a second birth, first on the stage, and then enaki on the screen directed by mikhail kolotov. the soviet audience accepted the tape enthusiastically. but international success and getting into the cannes film festival. the director claude puddles decided the case. during an excursion to mosfilm in 1956 , i saw work on a film by cameraman sergei urusevsky and immediately recommended the film for selection for the film festival. in cannes, in the same way, cinema stands apart in our camera work, just like mayakovsky. on the train, his hand-held camera. uh, he, uh, and before him, of course, a hand-held camera was used as a technique, but no one did it the way he did, neither before nor after it is absolutely an expression of his nervous system, an artist student of rodchenko and favorsky during the war years urusevsky was a front-line operator. he took it to a new level. not only work