podcast of a witness from einstein, i am film historian stanislav dezdinsky, and my colleague natalya ryabchikovay we are talking with leonid yarmolnik, our guest, thank you, i am very pleased, if now it’s hard to look at being a god, what is it? , this is social criticism, these are radical statements, artistic, how should we treat the film today, and how to interpret it, how can you possibly explain it to your grandchildren? or are you explaining now what this movie is about, because well, it’s still too early for mine, they are still , well, in a few years, yes, because 3 hours is enough of such a spectacle filled with everyday details, sometimes very unpleasant, but how is it, that is, it’s like you really need to let it go through yourself, it’s better, of course, in a cinema hall, and not on a small screen, because a lot will be lost, but still, well, if my grandchildren will have teachers who decide that the whole class there or the whole course needs to be shown that picture, then i will be happy, because you really need to watch a movie in the cinema hall next to you, because when you wa

my name is natalya ryabchikova, i am a film historian together with my colleague stanislav didinsky,little -known, soviet and russian films, and today we have a program that is not quite ordinary, not quite an ordinary podcast, because today we have a living person as a film archive, we will talk about the film it’s hard to be a god by alexei yuevich german and we will talk about it with leonid yarmolnik. good evening, good evening, good evening. our first question, of course, should not concern the film, we must approach it, we must talk, of course, i watched the most about alexei german and german ’s film, naturally, my friend ivan lapshin loves the picture the most, but there’s a slight difference, check on the roads, i adore the picture, a little more difficult for me was the picture where yura starred and played the lead role, khrustalev's car, khrustalev 's car, yes, but then, when we made the movie, it seemed to me that our film was even more complex from a point of view. for example, my wife, she adores herman’s films, because she is an artist, she, i generally believe that h

this is the ezenstein-125 podcast with you, the history of cinema natalya ryabchikova and arrtem sopin cinema. staying in mexico 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 cinematographic, not only editing . 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 adjacent to the caring nature, they originated, in general, these thoughts originated, which are now so valuable, and which is now being studied by cultural scientists and psychologists all over the world, precisely in mexico, because mexico gave him some kind of impulse to rethink his life in general, and because there was time, they arrived for

hello, this is the ezenstein-125 podcast, i’m film historian natalya ryabchikova, we’re talking withezenstein, and today we’re talking about 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

unprepared, and this was a podcast of a witness from einstein, where two film historians, me, natalya ryabchikova unknown, cult, famous, unprecedented soviet films were made, we are trying to help modern viewers watch these films with great interest, with great understanding and with great pleasure, see you again , thank you, see you again on the screen. this is news on channel one, in the dmitry sumskoy studio. hello, russia stands for universal security and lasting peace, built on respect for the interests of everyone, from large states to small countries. vladimir putin stated this at the plenary session of the valdai international discussion club, towards building a fair world order, moscow invites you.

podcast. and its presenters: me, film historian stanislav dizdinsky, and me, film historian natalya ryabchikova. and everything that makes up this movie seems to revolve around it. witnesses of isenstein are us, we are witnesses of how russian cinema was created and continues to be created. we want to make it enjoyable, interesting and useful for modern viewers. watch classics, popular, little-known, forgotten films of russian cinema, and today we will talk about greb panfilov’s film the beginning, which was released in the seventieth year, but despite the fact that it is known, perhaps not everyone knows how it was made, in what context, in what conditions , and what could happen after him in the fate of panfilov, churikova and soviet cinema in general, and panfilov himself, our hero, as a director and as a scriptwriter, the person who launches, of course, this story, but it launches on his first full-length film of the year sixty-seven, which is called there is no ford in fire, inna chyurikova already plays the main role, and panfilov, in this film, comes to this film as not a very young man,

most interesting thing in this case, this there was a podcast ezenstein 125, film historian natalya ryabchikova podcast called let them not talk, 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 yese

hello, this is the ezenstein-125 podcast, i am film historian natalya ryabchikova, we are talking witht too. the trip, in general, divided ezenstein’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 , t

this is the ezenstein-125 podcast with you, the history of cinema natalya ryabchikova and arrtem sopin cinema. staying in mexico 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.

also returned to drawing, this is the podcast ezenstein 125 with you... the history of cinema natalya ryabchikovag in mexico really opens him up creatively and takes him to a new stage creatively and theoretically, because it is here that he thinks through, here he begins to feel more deeply this connection between theory and practice, through general things, not only narrowly cinematic, not only editing and so on, but through the theory of perception, he begins to think about the psychology of the viewer, about the psychology of the artist, how this contact is created , how this contact is created, in general, these thoughts arose, which are now so valuable and which are now being studied by cultural psychologists all over the world, precisely in mexico, because mexico gave him some kind of impulse to rethink his life in general, because there was time, they arrived , sat there for a year and a half, wrote to sinclair some of their... ideas according to the script, again, then alexander will offer all this organize around some song, otherwise it’s the rainy season, then they go, suddenly there w