Page 265 - Inside the Film Factory New Approaches to Russian and Soviet Cinema

246 INSIDE THE FILM FACTORY
[Dziga Vertov: Articles, Diaries, Projects] (Moscow: 1966), p. 129; cf. Michelson, p.
106.
38 ‘Pervye shagi’ [First Steps], Michelson, p. 114. The Sokolov article, ‘Vozmozhnosti
zvukovogo kino’ [The Possibilities of Sound Cinema] had appeared in Kino, no. 45
(1929).
39 I.Montagu, With Eisenstein in Hollywood (Berlin, GDR: 1968), pp. 27—8.
40 See my introduction, ‘Soviet Cinema: A Heritage and Its History’, FF, pp. 1—17.
41 A.Nove, An Economic History of the USSR (Harmondsworth: 1969 and 1976), pp.
144—8, stresses the massive and unprecedented task of preparing the Five Year Plan,
with minimal planning techniques or statistics; hence the Plan was submitted for
approval in April 1929, over six months after it was supposed to have begun.
42 Taylor, ch. 6.
43 FF, p. 208.
44 Montagu, p. 27.
45 The phrase was used in the Party Conference resolutions in March 1928 and became
a slogan, later taken up by Shumyatsky; FF, p. 212.
46 The title of one of Shumyatsky’s books, Kinematografiya millionov (Moscow: 1935).
47 Shumyatsky, p. 117.
48 Burch, To the Distant Observer, p. 147.
49 FF, p. 424. Similar figures are quoted in Steven P.Hill’s valuable analysis of Soviet
pre-war production, ‘A Quantitative View of Soviet Cinema’, Cinema Journal, vol. 11,
no. 2 (Spring 1972), p. 21.
50 See pp. 199—200 this volume.
51 Undertaken, like Kristin Thompson’s, at the Cinémathèque Royale de Belgique,
Brussels, with the kind assistance of the late Jacques Ledoux and at his staff, and at
VNIIK, Moscow.
52 See Willemen, ‘Cinematic Discourse’, pp. 64 ff.
53 S.Freud, The Psychopathology of Everyday Life (Harmondsworth: 1975), esp. chs 5,
8 and 9.
54 See above, ch. 9, n. 5.
55 Yuri N.Tynyanov (1894—1943), Soviet author, critic, theorist and scriptwriter, whose
earlier scripts included the FEKS films The Overcoat [1926], based on Gogol, and
SVD [1927].
56 Little is known about this film, which was directed by Alexander Andreyevsky,
mentioned briefly by Leyda, pp. 283n and 363.
57 V.I.Pudovkin, Pudovkin on Film Technique (trans. I.Montagu) (London: 1958), p.
189.
58 R.Jakobson, ‘The Dominant’, (1935) in: L.Mateika and K.Pomorska (eds), Readings
in Russian Poetics (Michigan Slavic Contributions 8, Ann Arbor, Mich.: 1978), p. 82.
cf. Eisenstein’s ‘The Fourth Dimension in Cinema’, in: ESW 1, pp. 181—94.
59 V.N.Voloshinov [M.M.Bakhtin], ‘Reported Speech’, (1930) in: Mateika and
Pomorska, p. 158.
60 Even under glasnost, taboos remain which have prevented until recently extensive
analysis of Soviet films of the later 1930s. The colloquium organised by FIPRESCI,
the USSR Association of Film-makers and VNIIK on ‘Cinema in the Totalitarian
Epoch’, in Moscow in July 1989, provided a rare opportunity to pursue this
exploration by making comparisons between rhetorical strategies in German and
Soviet films of this period.