Page 264 - Inside the Film Factory New Approaches to Russian and Soviet Cinema

NOTES 245
13 B.Eikhenbaum, ‘Problems of Film Stylistics’ (trans. T.Aman), Screen, vol. 15, no. 3
(Autumn 1974), pp. 7—32; originally published as ‘Problemy kinostilistiki’, with
contributions by other Formalist critics, in the collection Poetika kino (Moscow/
Leningrad: 1927). A complete translation of this collection is now available as The
Poetics of Cinema (Russian Poetics in Translation 9, Oxford: 1982).
14 Eikhenbaum, p. 14.
15 ibid., p. 30.
16 ‘Help Yourself!’, ESW 1, p. 236; also translated as ‘A Course in Treatment’, Film
Form, p. 106.
17 Eikhenbaum, p. 16.
18 FF, pp. 234—5; ESW 1, pp. 113—14.
19 FF, p. 234; ESW 1, p. 113.
20 See, for example, texts by Andreyev, Mayakovsky and Meyerhold in: FF, pp. 27—39.
21 FF, pp. 271—5.
22 K.Thompson, ‘Early Sound Counterpoint’, Yale French Studies, no. 60 (1980), pp.
115—40.
23 Willemen, ‘Cinematic Discourse’, p. 66.
24 Thompson, ‘Early Sound Counterpoint’, pp. 119—27; Leonid Trauberg, co-director of
Alone, confirmed in an interview with the author, Moscow 1987, that the film was
fully post-synchronised.
25 A.Golovnya, ‘Broken Cudgels’, Schnitzer et al., p. 139.
26 V.I.Pudovkin, ‘On the Problem of the Sound Principle in Film’, FF, p. 265.
27 ESW1, p.236.
28 Taylor’s translation corrects several errors in the previously available version: here
‘long shots’ [obshchie plany] in place of Leyda’s ‘close-ups’.
29 N.Burch, ‘Film’s Institutional Mode of Representation and the Soviet Response’,
October, no. 11 (Winter 1979), pp. 87—8.
30 FF, p. 235; ESW 1, p. 114.
31 According to Y.Barna, Eisenstein (London: 1973), p. 134.
32 Alexander Walker records in The Shattered Silents (London: 1978), p. 198, the high
proportion of European films and actors playing in New York at the beginning of the
sound era. By 1930 almost all foreign films had disappeared from mainstream
American cinemas.
33 Vladimir Petri has analysed in detail the pattern of Soviet films entering US
distribution from 1926 to 1935. The total imported by 1936 was 184 titles, of which
91 were silent and 93 sound. Petri records the verdict of their US importer,
Amkino, on its liquidation in 1940: ‘Soviet talkies have always been less popular than
Soviet silent films’; ‘Soviet Revolutionary Films in America’ (unpublished PhD thesis,
New York University: 1973).
34 For details of Soviet dependence on imported American films in the mid-1920s, see:
Taylor, pp. 94—6. See also above, ch. 3, nn. 17 and 18.
35 FF, pp. 129—31.
36 ‘The Cine-Eyes. A Revolution’, FF, p. 93; also translated as ‘Kinoks. A Revolution’, in:
A.Michelson (ed.), Kino-Eye. The Writings of Dziga Vertov (trans. K.O’Brien)
(Berkeley, Calif.: 1984), p. 5.
37 ‘Otvety na voprosy’ [Replies to Questions], here translated by Richard Taylor and
Ian Christie from: S.Drobashenko (ed.), Dziga Vertov. Stat’i. Dnevniki. Zamysli