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218 INSIDE THE FILM FACTORY
Cinéma [Art in the New Russia:
Cinema] (Paris: 1927)
Pudovkin V.I.Pudovkin, Film Technique and
Film Acting (ed. and trans.
I.Montagu) (London: 1954)
SKhF A.V.Macheret et al. (eds),
Sovetskie khudozhestvennye
fil’my. Annotirovannyi katalog
[Soviet Fiction Films. An
Annotated Catalogue] (continuing
series, Moscow: 1961 onwards)
Taylor R.Taylor, The Politics of the
Soviet Cinema 1917—1929
(Cambridge: 1979)
Youngblood D.J.Youngblood, Soviet Cinema in
the Silent Era, 1918—1935 (Ann
Arbor, Mich.: 1985)
INTRODUCTION
1 FF, p. 1.
2 Yuri Tsivian et al. (eds), Testimoni silenziosi. Film russi 1908—19191 Silent
Witnesses. Russian Films, 1908—1919 (Pordenone and London: 1989).
3 L.Schnitzer, J.Schnitzer and M.Martin (eds), Le Cinéma soviétique par ceux qui l’ont
fait (Paris: 1966), translated and edited by D.Robinson as: Cinema in Revolution
(London: 1973).
1
EARLY RUSSIAN CINEMA: SOME OBSERVATIONS
Yuri Tsivian
1 The Moving Picture World, vol. 35, no. 5 (1918), p. 640.
2 Kino-gazeta, no. 15 (1918), p. 5.
3 S.Goslavskaya, Zaplski kinoaktrisy [Notes of a Cinema Actress] (Moscow: 1974), p.
116; for lubok, see p. 167 this volume.
4 Transcript of a conversation with Giatsintova. T.Ponomareva Archive.
5 G.A.Pratt, Spellbound in Darkness (Greenwich, Conn.: New York Graphic Society,
1973), p. 126.
6 For Aleinikov, see pp. 84—6,102 this volume.
7 The word for cinema in Russian, as in English, was neither static nor consistent at
this time: kino, kinematograf, kinema, sinema, sinematograf, kinotvorchestvo and
svetopis’ were among the more common terms deployed. I have used ‘cinema’,
except where ‘cinematograph’ seemed obviously more appropriate. Stainslavsky
consistently used sinematograf to describe his stage concept. (Translator’s note)
8 Ezhegodnik MKhT. 1944, vol. 1 (Moscow: 1946), p. 120.