leonid jovich, gaidai and the history of cinema natalya ryabchikova and with me my colleague stanislavhistorians. let's continue about noir, why a friend arises again on the movie screen noir in soviet is the same french word. what is the american genre? well, because the french in the circus years watched american films and said hmm some black film dark a and came up with such a term, which is natural in the thirties. in america , there were no critics, in my opinion, after all, he wandered off by himself what the graphic artists came up with the tricks. here actually. ah. when we look at this fragment now, the camera shoots a characteristic technique a little from below, but very big face. uh, the actor's hat. yes nikulin this is typical. well, it's a frame! might be in some kind of double insurance white, for example. why not? in general, such a look, yes, sharp shadows? yes, a contrasting image, which also, by the way, all this came from, how is it considered that this camera work came from the twenties from e, the cinema of the era of german expressionism, where there was a separa

leonid yavichi gaidai i am a film historian natalya ryabchikova and we communicate with my colleague,nsky. we actually started to move on to the topic of why the guide is now popular and why does he need to watch? i personally tried, and at one time to get to the bottom of the reason for this people's love, and i specifically analyzed tv programs for 50 years, how often and what films were repeated on new year 's eve on soviet television, and oddly enough, it turned out that and not so often, that is, a phenomenon, love, guide. this is a phenomenon of repetitions of the last decades, after all , soviet television, as usual, inflamed in a year shows some kind of premiere, as if it were a really exemplary film, now , after all, the strategy shows what is really people like to know they will definitely see that they support a certain rating and really people watch and know, but i would like to break this trend and advise viewers to watch the film that may be the most unknown from gaidai’s film, that very groom became sveta who , but is available to us in half of its full form. but, in my

leonid iovicha, gaidai i am a film historian natalya ryabchikova and today i am talking with my colleagueo so why gaidai well , because, uh, on the one hand, now we have such an anniversary parade will be in centennials. eh, amazing thing. in general, no matter what director, how can i not take some major anniversary here for me now, if einstein is 125 guides, the test is 100 years old, and soon there will be a whole parade of films old anniversaries, a film in the twenties, and gaidai well, unfortunately, and gaidai was not hmm, he was not properly rewarded in the soviet era, when he actually created his films here and now , for the last 10-15 or 20 years, such a renaissance is rethinking the work of soviet directors guide, ryazanov daneli. whose films everyone knows by heart, but now there is a comprehension of their formal methods of their creative heritage, and from the point of view of the skill of directing, because, as it were, for very long years, his films are made. well, as it were , somehow seamlessly by itself. in general, it just seems, yes, there is no one here. well, abstru

leonid jovovich, gaidai i historians natalya ryabchikova and together with me my colleague stanislavsky film historians will continue about noir, why does a friend appear again on the movie screen? noir in soviet is the same french word. and what about the american genre? well, because the french in the forties watched american films and said hmm some black film dark a and came up with such a term, which is natural in the thirties. in america , there was no time when this criticism, in my opinion, nevertheless wandered into it, some kind of microfists themselves came up with tricks. here actually. ah. when we now watch this fragment, the camera shoots a characteristic technique a little from below, but a very large face. uh, the actor's hat. yes actually nikulin here it is typical. well it's a frame, could be when in some double insurance wilder's underwear, for example why not? in general, such a look, yes, sharp shadows, yes, contrasting images, which also, by the way, all this came from, as it is considered, this camera work came from the twenties, from the cinema of the german ex

leonid yuryevich gaidai, i am a film historian natalya ryabchikova and we communicate with my colleague and also, if we talk about attractiveness, attractiveness movement, the attractiveness of actions on the screen and physical attractiveness, when i could somehow afford to enter the territory of sexuality in soviet cinema. here's what. i don’t even know such sensationalism, or something like what svetlana svetlichnaya does in a diamond hand. here is for you, as a spectator guide. we are never shown the whole thing. we do not see how , in fact, the bra flies with the light. if it's personal and then some frame that was cut from the movie of the coin. right there in basically, it was not intended. i really like how this topic appears in the last film of gaidai on the basovskaya tree, good weather on the back. ah, again this rain, where is our soviet, and such a secret agent receives instructions from his commander from his mentor, and he reminds him. and if you are seduced and want to destroy a beautiful woman, what should the agent and hero of russia do? she says the hero must destroy

hello, my name is natalya ryabchikova, i am a film historian. today we have a podcast that is called eisenstein 125, it is dedicated to the 125th anniversary of the birth of the remarkable soviet world director and teacher theorist sergei mikhailovich einstein my name is artyom sopin. uh, i'm a film scholar, and also welcome to the podcast from einstein 125, we'll start the conversation with who einstein is why do we all of a sudden mark him, well, not quite round, yes, then still, yes, why is he so important to us than he is important for the history of cinema, but for this it is necessary to say, in principle , about the moment when he appeared about, and where does he come from came and, in fact, what he did at that moment, when he came to cinema , eisenstein was born at the very end of the 19th century, when cinema was just beginning , he was one of those who, in childhood , first saw both films and méliès. for example, and for him it was the discovery not only of the films themselves, but also of some new entertainment , not yet quite art,

leonida iochagaidai i am a film historian natalya ryabchikova and today i am talking with my colleague stanislav dinsky. hello so why gaidai well, because, uh , on the one hand, now we will have such a centennial anniversary parade. eh, amazing thing. in general, no matter what director, how can i not take here for me now some major anniversary from the einsteins 125 gates, test 100 years, and soon there will be a whole parade of films old people anniversaries of films in the twenties. and gaidai well, unfortunately, but gaidai wasn't. hmm , he wasn't rewarded properly in the soviet era, when he actually created his films here and now the last 10-15 films are being made. here is 20 such a renaissance rethinking of the work of soviet directors guide ryazanov danelia with each other whose films everyone knows by heart, but now their formal methods are being comprehended for many years, well, somehow the skill of guessing as a director was not obvious, because somehow his films were made. well, as it were , somehow seamlessly by itself. in general, it just seems, yes, there is no one here

about centenary of the remarkable soviet director, leonid iovich, gaidai, i am a film historian natalya ryabchikovadical hello so why gaidai well , because, uh, on the one hand. now we will have such an anniversary parade in centenary years. eh, amazing thing. in general, which director? whatever it is, just take me now for some major anniversary, if einstein 125 guide test is 100 years old, and soon there will be a parade of films of old anniversaries, a film in the twenties . a gaidai well, unfortunately, gaidai was not hmm, he was not properly asked in the soviet era, when he actually created his films and now the last 10-15 are happening. here is 20 such a renaissance rethinking of the work of the soviet directors of the guide, ryazanov daneli in mm, whose films everyone knows by heart, but now there is a comprehension of their formal methods of their a. well, somehow the skill of guessing as a director was not obvious, because somehow his films are made. well, as it were, somehow seamlessly, in in general, it just seems, yes, there is no one here. well, absurd in a good way, like andrey tarkov

natalya ryabchikova podcast from einstein 125. goodbye. all the best. to welcome you to the studio for our must- read podcast. today. we will talk about tolstoy's novel anna karenin , i would be interested to talk about the modern view of karina's plot. barbanyaga. writer e with author. e books about tolstoy, and an expert on tolstoy elina gridchina is an art critic. uh, big fan of the novel. we gathered as a women's team because i think that man a should not talk about this topic. she is very delicate. yes, we will talk today about adilter, after all, the novel is based on liester. therefore, i believe that it would be appropriate to talk about, let's say, the modern context of this situation with women. yes, we are all married or have been married. we have children. we are, so to speak, adult experienced women, and we already have some formed point of view on this novel. well, let me first mention that anatolinin's novel is considered a prose standard , the pinnacle of literature and russian literature . william fawkner, considered this novel a master

it was the podcast of the year and 100th film history natalya ryabchikova and my colleague. history of cinema stanislav dinsky. enjoy watching. lord have mercy on us, my joy