e of those years of soviet cinema, a film from eisenstein ivan the terrible well, yes, this, of coursehe largest project, as they would say now, but the central united film studios, because it was launched before the war in the winter of forty-one years and summer forty. the first one is not very clear. is it necessary to continue making a film about ivan the terrible? but this is an order from above. yes, it was transmitted data from eisenstein and zendenstein ask bolshakov for the head of the film industry. but is it necessary to continue? yes, they tell him, right? it is necessary, but when the moscow echelon arrives this type for 2 weeks, they traveled to almaty. yes, there are constant stops . lyubov orlova draws water into the kettle and so on. ah. immediately they chop wood at these substations, and when they reach almaty, they understand that, in general, the city is not adapted to living in such a number of racists, there is absolutely nowhere to settle, and under normal conditions, shooting and they begin to shoot more or less only in the forty-third year in alma-ata, and nev

but a certain ally removes the film from the screen eisenstein makes the opera at the bolshoi theaterorty-first film instantly returns to the screens and gets a real second life, because this image of nevsky yes, and especially in the finale of the film, turns out to be in tune with incredible go and tell everyone in foreign lands that russia is alive . let them visit us without fear. but if whoever enters us with a sword, celebrate, he will perish. on that stands and will stand the russian land. it is interesting that, when this film is taken at 30, almost nothing is known about nevsky, never during the war are introduced order of alexander nevsky is the image on the order. this is not some medieval image. and this is actually a stylized nikolai cherkasov in the role of nevsky it seems to me that this is the connection between screen cinema and real life. it's absolutely straight here. and, of course, there were films that were made before the war, for example. in the summer of the forty-first year in july in august. there is a color film in moscow. the little humpbacked horse. it wa

thank you hello this is a podcast of eisenstein's witnesses where we are film historians natalya ryabchikovaedinsky we talk about who and how created the little-known cult forgotten classic soviet films. we climb into the jungle in the archives to tell. why watch soviet cinema now, how to better understand it, how to find new meanings and how to get the most out of it, but today we are not talking about a particular film or even a film in general, but about the place where films are shown about moscow international film festival. the moscow festival is an event in a broad sense, which over the course of different decades was filled with different content in a different sense and actually different cinematography, which were shown at this festival and there. what goals and objectives were set before this, and the event before the moscow festival. today we will talk and tell our viewers. cinema , as we remember, appeared at the end of the 19th century in 1895, and the first festivals arose only in the thirties, and the first very first was the venice festival in the thirty-second year. but the

i remind you that this is a podcast of eisenstein's witnesses where we talk about who and how createdall well-known forgotten soviet films and today we are talking about one of these films . it can be called a cult burn, burn, my star , we do it connections with the ninetieth anniversary of its director alexander naumovich meta, in principle, this is an unusual film for soviet cinema also because he, well, you can say multimedia it has a story about the theater it has cinema, and the third hypostasis is painting - it can be said that even frescoes are sculpture, that is, visual art is static and it will pay off on the screen a wonderful production designer. boris blank and two artists from the soyuzmultfilm studio who actually created these incredible colorful , uh, drawings. uh, the statues are painted apples on a tree that the hero of oleg efremov creates . yes, this is alina speshneva and her husband nikolai serebryakov. here they are responsible, including wonderful, and the drawn inserts that open the eyes of this film , after all, the eyes remained there. and why are there these

remember everything; here pudovkin played the holy fool in the film by sergei mikhailovich from eisensteinrrible yes. volodya is like this. i invite you to play an episode in my film too. that is, as if the great will listen to another great director, as it should be. well , of course, i agreed. i say, how can i do something there somehow, if you can let go of the antennae. so when i let go of these tiny , now already gray, barely noticeable mustaches. since then , i have not shaved them off. that's how i found them. what was that episode. two terrorists are rusans, and i make our way at night the carriage of a train of diplomats who are being taken to the genoese conference, a letter from lenin with instructions on how soviet diplomats should behave in the changing situations of the conference. the character of this rusanov, he became in exile, the final ardent anti-bolshevik anti-soviet and turned, in fact, into a terrorist. well, in a couple in the company of myself for fidelity, so to speak, shooting. he took, here is the character. here, his name is not there, just a terrorist. so, it

this is a podcast of eisenstein's witnesses and hosted by me, film historian natalya ryabchikova and , in this podcast we tell who and how created classic cult little-known forgotten soviet films. we get into the secrets of film archives and tell. why watch soviet cinema now, how to better understand it, and how to get the most out of it, and today our topic is the ninetieth anniversary of the wonderful soviet director russian director alexander minta and his film, made at the end sixties burn burn. my star stas why is it important for us to talk about alexandra? because this person, who in many respects laid the foundations for the attitude to the cinema, as a kind of mass spectacle, this is the new standard of the soviet blockbuster. recall the fairy tale of wanderings in the film. this, of course, was done by and so, who thought about how it is generally abroad. they rent mass cinema in those years when he was actively interested in it and subsequently developed his theory of the concept further directly into a three-act structure, as in general, any mass film is built. there is t

it was a podcast of witnesses of eisenstein and the history of cinema natalia ryabchikova and my colleaguev dedinsky are talking about who and how created domestic films and cartoons about how we can better understand them and get the most out of them. bye thank you very much, goodbye. hello with you, the schrödinger code podcast and i am its host grigory tarasevich, the editor-in- chief of the magazine, you won’t believe the schrödinger code either, and today we will speak unexpectedly in cats and together with our guest miroslav volkov , a professional zoopsychologist. we'll talk about what our fluffy. these are the ones that run, purr, and meow, in fact. this is a big serious scientific topic miroslav once again. hello. hello. let's start with history, look. here is a popular book often write code was homemade then and there then, then, how did people even know, when and where was the domestic cat for a start , we need to understand what domestication is, that is, and this is the process when the cat came to our house, and we began to perceive it as? well , for example, family members o

say, which was very often talk about sparkles in performance. for tabakov they said that it was eisensteinho was such a prototype of the hero who oleg tabakov created the harvest with me to watch ours represent. it is interesting that in the original literary script one of its names was in life three deaths or two deaths of vladimir five deaths vladimirovich but at the same time he remained alive at the end of the literary script beet heroes leave for horizon e, to new creative achievements by opening to the creation of new theaters and looking to the fog. damn girl. krisa says, look, we call it very torturous comparisons, that the hare brews beer, but he does not agree with the cream. yes? or any ideology. it’s not like i’m hiding behind our horizon in the film from kremas, he dies saving, and ksyu drives away the cart and actually dies from a bandit bullet, as he said because of the revenge of one of those with whom he collided with the greens, as they called it ? the protagonist of soviet cinema could die in the twenties and even in the first half of the thirties, for example chapaev th

40 films will restore materials for the anniversary of fyodor chaliapin the cold faith of sergei eisenstein films will wait in the wings in the repository of the state film fund has 19 movies repositories. this one of them here on the shelves more than 80,000 films of different years and all unique, but if really rare specimens. here is the positive. of the 1934 film chapaev and chapai , i think there will be more than a million such boxes of rollers after the war, when the analysis began. uh, all incoming materials. it was necessary to make sets and the first one, which we managed to assemble right away. it was the movie man with a gun. the first number of the cinema illusion the audience is in anticipation of the session. mechanic charges film film projector in modern cinema lot stunning special effects and an incredible palette of colors, but old films - this is something, spiritually dear, as i looked, and it is closer this is the very classic of our cinema to save this part of the country's cultural heritage today it is possible and necessary to digitized restored paintings become more

this podcast was seen by eisenstein, i am a film historian stanislavtsedinsky with me, the studio ofy colleague, the story of kim was given by ryabchikov and today, we are talking about russian animation. actually one of such important films. uh was filmed by lev atamanov , a wonderful soviet director and animator who personally knew the starevich, because as soon as the borders opened, russian animators. soviet animators began to actively travel to foreign festivals lev atamanov and ivan ivanovna first of all ran when they got to paris to visit the starevich to get acquainted personally. well, then, what happened next, and then soviet animators began to create their own classic films, one of which films began to be watched. others began to go abroad and that was the start. uh, the influence, including on japanese anime, which today, well, it seems to dominate the world, and then, in the fifties and sixties , japanese animators just got into soviet films with great interest and surprise watched well, for example, the snow queen there let's see it. hayao miyazaki himself is very fond

pudovkin played the holy fool in the film by sergei mikhailovich from eisenstein, ivan the terrible, yes. volodya is like this. i invite you to play an episode in my film too. that is, it is as if one great director invites another great director, as it should be. well, of course, i agreed. i say, and how can i do something there somehow, if you can let go of the antennae. here, i then let go of these tiny ones. now there are seeds and two conspicuous mustache. since then, i have not shaved them off. that's how i found them. what was that episode. two terrorists are rusans, and i make our way at night in a carriage of a train of diplomats who are carrying a letter from lenin to the genoa conference with instructions on how soviet diplomats should behave in the changing situations of the conference. the character of this rusanov , he became in exile, the final ardent anti-bolshevik anti-soviet and turned, in fact, into a terrorist. well, in a couple in the company of myself for fidelity, so to speak , shooting. he took, here is the character. here, there it no name just terrorist. so,

uh-huh, that is, well, we remember that from eisenstein - this is a montage of a comparison of differentns. and for tarkovsky it is a long long misan. the frame is like a mirror at the beginning of the film, where you find yourself inside this life. that is, you have to impose an artist. now these by the way, about shamans, by the way, about shamans. we also talked about it, really, because they some of their own, but very strange instruments that they themselves are not aware of, i think. they draw you into a different time into a different space, yes, that is, you are something else, this is some very significant transition. in general, to be honest, uh, you know, it recently occurred to me that it occurred to me that if we all finish our game, and there will be no more people on this planet, and then something will happen and either there were some intellectual and perhaps more moral beings will fly in from other e-universes and get infected here. yes, and here they are if you look at what is left of us, then, i think, but with amendments, but still the main thing will turn out to be

hello this is a podcast of eisenstein's witness, i am a film historian natalya ryabchikova and my colleagueabout who and how created the famous famous cult forgotten and completely unknown soviet films. and why do we need to watch soviet cinema now, we climb into the jungle of archives in order to understand how we can watch it now and how we can get the most out of it. hello, my name is stanislav dedinsky, i am a historian of film animation, and today, together with natalia, i will tell you why russian animation day is celebrated on april 8 or march 26, according to the old style, when the premiere of the first russian animated film that innovative viewers knew much later, and the film was a wonderful lyukanida vladislav stareevich. who is vladislav starevich? what's so beautiful luke yes when did this even happen? this was in 1912, when no one knew the word animation or animation yet, but some experts knew what frame-by-frame shooting is, with which you can frame by frame, step by step, to revive some objects on the screen, well, let's turn pupae one handle in and the second handle on bar

his life he worked in the soviet union, he was the greatest theorist of soviet cinema, along with eisensteinnkard, his work is studied both in hollywood and around the world, as a theorist and many because it is soviet. eh, people created. in general, cinema by and large, you know, and the theory of cinema and the whole of hollywood is studying. and this is the case. including shklofsky and great literature ethical works, of course, peredelkino in the eighty -fourth year, and this and this would not have happened if they had not kept cold brains well? and the fact that children, which are now acceptable, is obviously now everything is better left. here you are in excellent communication with us. but for such great tenyanovs, but no more, so who left. well, you're not new. yes, they agree, thank you. you know what, you see a cheek, maybe not among people of art, but among scientists there are such people or wonderful there won't be such programmers that we don't need them. today we need well definitely well programmers are definitely needed lately. thanks a lot. thank you for the clarificatio

yes, and time will tell and it was a tackle witnesses of eisenstein and we are his leading film historianskova and stanislavsky, we are talking in this podcast about who and how created the classic famous little-known cult soviet films about how to better understand them now and how to get the most out of them. goodbye. thank you bye. hello this is a podcast of the psyche. my name is natalya loseva, a journalist. there is my co-host clinical psychologist and candidate of psychological sciences mikhail khors hello and we are here to open boxes your codes. to disassemble your hearts , unravel your destinies and try to find a way out for the better, our today's hero came with such a request. he suffers from burnout. he suffers from the loss of the meaning of life. well, you know , such a typical middle age crisis for a smart thinking man, but there are a variety of ways out of this crisis, sometimes tragic. our task today is to prevent. alex tell your story. hello my story begins a few years ago. uh. first it was. in general, everything was built on love for work and i took her feelings to he

attention was brought to the cinematographic novelty of the eagerly awaited second series of sergei eisenstein'shead of the soviet cinematographer ivan bolshakov returned from watching a movie with a bowed face, as eyewitnesses recalled. the leader smashed the picture to smithereens it was from this event that it is customary to start counting a new round of a disgusting company to combat formalism in art , akhmatova zoshchenko pasternak shostakovich eights and many others were persecuted. less than a month had passed since the ceremonial meeting of the union of artists of uzbekistan on the occasion of alexander volkov being awarded the title of people's artist, as the already venerable master had to go through public humiliation reminded him of all the formalistic sins of his youth. waking up at dawn one day, alexander nikolayevich realized that he had to move on and went on a journey through the expanses of turkestan with an easel, but now he painted about political landscapes, and recited poems to trees and birds. immediately after the famous tashkent earthquake in 1966 , the volkov family de

u200bcan be understood from his conversation with the director of the film ivan the terrible sergei eisensteinh the way the tsar was criticized from einstein for the fact that john vasilyevich turned out to be somehow not decisive and something even looked like hamlet, the wisdom of ivan the terrible was that he stood on a national point of view and did not let foreigners into his country, protecting the country from the penetration of foreign influence . ivan the terrible's remarkable event was that he was the first to introduce a state monopoly foreign trade ivan the terrible was the first who led it lenin the second so valery mikhailovich here you are like this one, as i understand it, that you agree with the other, in your view there should be some kind of wall around us there should be a wall of worldview in the first place and taking into account the fact that the west is an absolute minority of humanity out of eight. this is the west, and moreover, in the west itself, an absolutely minority shares liberal globalist values, and the majority concedes against them, that is , the west must