125 podcast, i’m film historian natalya ryabchikova, we’re talking with my colleague film expert artyom sopinut the incredible foreign travel and adventures of ezenstein and his friends in europe, the usa and mexico. hello, and this trip, in general, divided zenshtein’s life into two parts and contained a lot in itself, despite the fact that it lasted, in general, on the one hand, not so much, and not so little, 3 years, during these 3 years isenstein managed to catch a lot of phenomena that by the end of the twenties were just leaving european culture, but he still managed to, as they say, feel them, touch them, look at them from the other side , he had already very astutely noticed those features that would be characteristic of the thirties and forties, no longer traveling outside the soviet union in subsequent years, he nevertheless meets in the foreign press or in the domestic press... encountering certain names mentioned, he i said it, but i already did it i know, i’ve already seen it, here’s how it’s developing now, and it was back in ’30-thirty-one, it was an absolutely turning point,

this is the ezenstein-125 podcast, with you the history of cinema natalya ryabchikova and films artyom sopino really opens him up creatively, takes him to a new stage creatively and theoretically, because it is here that he thinks through it, here he begins to feel more deeply this connection between theory and practice, through general things, not only narrowly cinematic, not only there montage and so on, and through the theory of perception, he begins to think about the psychology of the viewer, about the psychology of the artist, how this contact with the material is created, how this contact with the material is created, it is here that one of the most important of his later books begins to take shape, the method and the adjacent indifferent nature, they arose, in general, these thoughts arose, which are now so valuable and which are now being studied by cultural scientists and psychologists. all over the world, specifically in mexico, because mexico gave him some kind of impulse to rethink their lives, but because there was time, they came, sat there for a year and a half, and wrote off

artyom sopin, goodbye, hello, dear tv viewers, you are watching the podcast triggers with you its hosts psychologist tatyana krasnovskaya psychologist psychotherapist sergei nasibyan visiting us today is maria. hello, maria, hello, tell us what you came to us with? oh, i’m currently 35 years old, i live with my mother, and uh, i’ve never had a serious relationship, and i’ve never been married, i don’t have children either, in the future i would plan to start my own family, i would like to, but i don’t want to leave my mother alone, my mother is 68 years old, she is a lonely pensioner, she sits at home all the time, alone, somehow she has no friends, no girlfriends, not even pets, nothing, and i really don’t want to leave her alone, i think, it’s somehow cruel, i’m a very ematic person, very kind, it’s hard for me to decide, to decide whether i should build my happiness, my family, or continue to live with my mother, but then i kind of sacrifice my future, my possible family happiness, in general, you are a good daughter, in some ways, maybe, maybe, i don’t know, not 100%, but you came t

i'm a historian. cinema natalya ryabshchikova, we are talking with my colleague film critic artyom sopindespite the fact that it lasted, in general, on the one hand, not so much and not so little 3 years. during these 3 years, isenshtein managed to catch many phenomena that by the end of the twenties were just leaving european culture, but he still managed to, as they say, feel, touch, look at them, on the other hand, he was already very shrewdly noticed those features that would be characteristic of the thirties and forties, no longer traveling outside the soviet union in subsequent years, he nevertheless met in the foreign press or in the domestic press, meeting certain names mentioned, he said, and i said this i already know, i’ve already seen it and here it is, how it’s developing now, and it was back in ’30, ’31, it was an absolutely turning point, because izinstein was invited to hollywood, invited to hollywood in ’27, but he went he's there only in the twenty-ninth, and 29, this is already a completely different world, this is a world on the eve of the collapse of the nyuk stock e

case, this there was a podcast ezenstein 125, film historian natalya ryabchikova and film critic artyom sopintalk, let them read, we talk about different topics, about different writers, about classics or about those who are close to us, but today we are talking about an author who, on the one hand, has passed away quite a long time ago, on the other hand , he is with us, he is nearby, this is sergei sanovich yesenin, a very popular poet, many say that he is a national poet, he was noted not this year, but earlier, this year we just everyone since we remember yesenin with a special feeling at the beginning of autumn, when he was born, today we are visiting the general director of the museum of the reserve sergei sanovich yesenin, boris igorevich joganson, hello, hello, and today we are also visiting andrei veshkurtsev, an actor of the moscow art academic theater named after maxim. performer of the role of senin in the sensational play called mina, we will talk about yesenin from the point of view of the museum. i’ll ask you a very simple thing, what is sergei yesenin charging us with today, e

podcast, i am film historian natalya ryabchikova, we are talking with my colleague film expert artyom sopinzenstein’s life into two parts; it contained a lot, despite the fact that it lasted , on the one hand, not so much and not so little 3 years, during these 3 years isenstein managed to see a lot many phenomena that were just leaving european culture at the end of the twenties, but he still managed to, as they say, feel, touch, look at them, on the other hand, he had already very astutely noticed those features that would be characteristic of the thirties and forties, without having gone to subsequent years outside the soviet union, he nevertheless meets in the foreign press or in the domestic press, he encounters certain names and references, he said, and i already know this, i have already seen this, this is how it is developing now, and it was back in '30-31, it was an absolutely turning point, because ezenstein was invited to hollywood, invited to hollywood in '27, but he only went there in '29, and '29 is already a completely different world , this... and the world on the eve of the