scholarly journals Alternative Forms of Film Distribution and Exhibition in the USSR in the 1920's

2013 ◽  
Vol 5 (4) ◽  
pp. 6-20
Author(s):  
Marina Ivanovna Kosinova
Keyword(s):  
Film Industry ◽  
Film Production ◽  
Film Distribution ◽  
Soviet Cinema ◽  
Russian Film ◽  
The Revolution

The article deals with process of the reconstruction of Russian film industry after the Revolution. Special attention is paid to the problems of the repertoire policy under the near absence of domestic film production. The author also examines alternative forms of film distribution and exhibition (propaganda trains, steamboats, etc.), the principles of promotion the nascent Soviet cinema throughout the country.

Soviet film distribution and demonstration in the era of “thaw”. The revival of the film industry.

Servis plus ◽  
2015 ◽  
Vol 9 (4) ◽  
pp. 17-26
Author(s):  
Марина Косинова ◽  
Marina Kosinova ◽  
Артур Аракелян ◽  
Artur Arakelyan
Keyword(s):  
Rural Areas ◽  
Film Industry ◽  
Operation Mode ◽  
Color Film ◽  
Qualitative And Quantitative ◽  
Artistic Value ◽  
Soviet Film ◽  
Film Distribution ◽  
Soviet Cinema

In the period of “thaw” (mid 1950s – mid 1960s), there is a sharp qualitative and quantitative growth of Soviet cinema. If in 1951 in the USSR was filmed just nine films which didn’t represent a high artistic value in the creative attitude, already in 1956–57, Soviet cinema shocked the whole world. In 1958 they released 66 new Soviet film, but by 1960 our film industry overcame the milestone of 100 films and continued to steadily increase the production. The growth of the film industry contributed to the cinema spreading and film distribution. In the years of “thaw” in the USSR cinema attendance exceeded 3 billion, compared to 1.5 billion in 1953. The Gross fundraising from screenings at state cinema chains increased to 5.5 million rubles in 1957, and throughout the hole cinema chain – up to 7.5 million rubles. On the 1st January 1958, the chain consisted of 80 thousand cinemas, including more than 50 thousand in rural areas. By this time, they had mastered new technical possibilities of cinema (wide-screen, panoramic, wide angle, circular panorama). They fully mastered color film. However, in the field of cinema there were still a lot of unresolved issues. Revenues from films increased annually in largely through the construction and commissioning of new cinemas, and due to the tightening operation mode of already active cinemas, contrary to their real capabilities. But cinema rigidly centralized administrative-command system which had been formed in the 1930s continued to operate until the perestroika in the Soviet. They sold films to the distributors as a “product” based on the amount of the estimated cost of the film. The Studio was lcompletely disinterested in the outcome of the promotion of the film, its success with the audience. Thus, they did not have a major driver in the fight for the quality of films. Numerous attempts of the Filmmakers ‘ Union, established in 1957, to change the existing system didn’t have the results. The only application of far-reaching ideas of the Union became an Experimental creative Studio.

scholarly journals The Impact of Creative Content on the Modification of the Film Exhibition Structure in Russia

2018 ◽  
Vol 10 (4) ◽  
pp. 126-138
Author(s):  
Maria V Bezenkova
Keyword(s):  
Film Industry ◽  
Distribution Model ◽  
Film Exhibition ◽  
Film Distribution ◽  
Wide Range ◽  
Russian Film ◽  
The Impact

Taking into consideration the peculiarities of Russian film distribution, the article presents a wide range of basic trends in the artistic content meant for demonstration in cinemas. The author also studies the conceptual, structural and economic advantages of this distribution model as essential for Russian film industry.

ANALYSIS OF THE CURRENT STATE OF THE DOMESTIC FILM INDUSTRY

Servis plus ◽  
2016 ◽  
Vol 10 (3) ◽  
pp. 42-52
Author(s):  
Карина Спивакова ◽  
Karina Spivakova ◽  
Артур Аракелян ◽  
Artur Arakelyan
Keyword(s):  
Risk Management ◽  
Management System ◽  
Film Industry ◽  
Contemporary State ◽  
Film Distribution ◽  
Risk Management System ◽  
The Status ◽  
Russian Film ◽  
Russian Cinema ◽  
Effective Development

The formation of scientifically grounded approaches to improve the management of the film industry needs to analyze the contemporary state of film industry in order to identify its most important problems and untapped opportunities for further dynamic and effective development. The analysis of the status and trends of Russian cinema-business development, the peculiarities of its historical development and study of logic interdependent processes are relevant prerequisites for solving the problem of forming of risk management system of project im- plementation; because in many cases these risks are caused by the specificity of Russian cinema and features of its functioning. The article is devoted to the analysis of the contemporary state of the domestic film industry based on which it is possible to make the conclusion about the need to improve management. The author analyzes the main economic indicators of the industry and describes the main development trends and their positive and negative features. The author studies thoroughly such indicators as dynamics of film distribution in the Russian film market, divided into the percentage of domestic and foreign films, attendance of cinemas in Russia, the number of cinemas and particular cinema hall in the country, takings of the Russian and foreign film projects, the production facilities of film studios, etc. A detailed analysis of the statistical data for the last 10 years allows the author to make the main conclusion about the origin of real prerequisites for the formation and development of scientifically based management systems in general and risk management system in particular in the production of Russian film projects.

scholarly journals The Dialogical Nature of Localized Filmonyms

2019 ◽  
Vol 21 (3) ◽  
pp. 830-838
Author(s):  
S. A. Pankratova
Keyword(s):  
Foreign Language ◽  
Mass Communication ◽  
Film Industry ◽  
Cultural Background ◽  
Mutual Understanding ◽  
Film Distribution ◽  
Foreign Culture ◽  
Similarities And Differences ◽  
Russian Film ◽  
Cultural Dialogue

The article introduces readers to the problem of localization of English filmonyms as exemplified by a subgroup of film titles with a dialogic nature. The research features the phenomena of mass communication discursivity based on film titles with a dialogic nature in modern Russian film distribution. The method of typological synchronous comparison (juxtaposition) allowed the author to compare filmonyms and their translations in order to discover their functional peculiarities, similarities, and differences. The material shows that modern cinematography, unlike film industry abroad, makes an active use of dialogical filmonyms as a manipulative instrument of attracting filmgoers to cinema halls. The translation activates an adaptive tactics in order to accustom filmonyms to the peculiarities of the accepting cultural background. The classification revealed that a range of filmonyms with a dialogical nature, i. e. exclamations, stickers, appeals, declarations, and questions, reflect the mass conscience due to their emotivity. In the last decades, the shift in mass conscience signifies the tendency for tolerance to everything immodest, impudent, seductive, and blatant, which was previously uncharacteristic for the Russian film industry. The article postulates that learning a foreign language implies the ability to tune on the same wavelength with the foreign culture, whereas disrespect for the foreign cultural specifics doesn’t facilitate the cultural dialogue and mutual understanding.

scholarly journals Trends in the methodology of media consumption study in the field of cinema in Russia

2021 ◽  
Vol 9 (SPE2) ◽  
Author(s):  
Tatyana Igorevna Nikitina ◽  
Aleksey Aleksandrovich Nikitin ◽  
Bulat Ildarovich Yakupov
Keyword(s):  
Production Process ◽  
Film Industry ◽  
Economic Conditions ◽  
Media Consumption ◽  
Film Production ◽  
Financial Success ◽  
Qualitative Understanding ◽  
Modern Economic ◽  
Russian Film ◽  
Research Stage

The relevance of the topic is conditioned by the need for scientific understanding of media analytics and a qualitative understanding of its methods as promotion tools, as well as for the introduction of the research stage of media consumption into the film production process to popularize and further promote domestic film products among the Russian audience. In the Russian film industry, this experience is especially necessary within modern economic conditions. The need to ensure the financial success of Russian film products, which are subsidized by the state, has led to the interest in finding new approaches promoting and increasing the loyalty of the cinema audience, which is especially important at a time when only 1 out of 10 domestic films pays for their film production during the distribution period.

Soviet cinema as a state budget’s contributor. Distribution in the 1930s

2014 ◽  
Vol 6 (1) ◽  
pp. 8-22
Author(s):  
Marina Ivanovna Kosinova
Keyword(s):  
Film Industry ◽  
The State ◽  
Film Production ◽  
Silent Cinema ◽  
Industrial Base ◽  
State Program ◽  
European Experience ◽  
Soviet Cinema ◽  
The Government ◽  
Soviet Russia

The idea of replacing revenues from alcohol sale with income from cinema attendance was put forward by L. Trotsky in Soviet Russia in the early 1920s. At the stage of transition from silent cinema to the sound one this idea received a significant number of supporters. Anyhow attendance statistics proved a considerable gap between alcohol profitability and yield, calculated on theatre booking. In order to heal the situation quite a number of new cinemas had to be built. Since the state did not have adequate resources at its disposal, it was decided to refurbish the churches into cinema theatres. As a result the two important aims were to be gained: efficient increase of attendance and effective antireligious propaganda. Achievements of Soviet cinema in the early 1930s supported the idea of cinema to triumph over alcohol. Iosif Stalin proclaimed the replacement of the income from vodka with income from cinema as an official party and state program: expanding industrial base of the Soviet cinema, making more films, increasing the film circulation, building more cinemas. I. Stalins idea was to be realized by the chairman of the GUKF B. Shumyatsky. Acquainted with American and European experience, he proposed a number of reforms in the film industry, the key to which was the creation of the Cinema city in the South of the country, the Soviet Hollywood. As a result, the Soviet film industry had to be increased 10 times. But the project of the Cinema city was not approved by the government. While B. Shumyatsky was working over this project, the assets of the Soviet cinema were actually put on the slide. As a result, the output of film production in Russia decreased significantly, not allowing to execute the annual plan. Thus the idea to replace vodka income into cinema one turned out unfulfilled.

Soviet spreding of the cinema and film distribution during the second half of the 1940-ies. “Trophy movies” as the salvation of the film industry in the period of “malokartinye”

Servis plus ◽  
2015 ◽  
Vol 9 (3) ◽  
pp. 59-69
Author(s):  
Марина Косинова ◽  
Marina Kosinova
Keyword(s):  
Film Industry ◽  
Recovery Process ◽  
Movie Industry ◽  
Economic Problems ◽  
Political Propaganda ◽  
Soviet Film ◽  
Film Distribution ◽  
Soviet Cinema ◽  
Great Patriotic War ◽  
Post War

The article discusses the recovery process of the destroyed film industry during one of the most difficult periods — the post-war years. During the years of the great Patriotic war The Soviet urban chain lost more than 500 cinemas, located in major cities and industrial centers. Rural cinema network lost almost half of the cinemas (about 7000). The construction of new urban cinemas was carried out very poorly in the early postwar years; for 5 years only 77 theaters had been built. The film distribution, as spreading of the cinema, developed very slowly in the postwar years. In addition to purely economic problems, in these years our film faced difficulties of a different nature. Films shown on the Soviet cinemas were forcibly shifted in the direction of ideological and political propaganda that led to a narrowing of the genre and thematic range of the Soviet cinema. The results of the work of the film industry itself were also affected with the consequences of policy "malokartinye» the authorship of which is attributed to Stalin. The essence of it was a controversial idea: to spend on movies less money, but earn more. As a result the movie industry was in a very difficult position. In 1947 it was decided to release in USSR a lot of foreign films, announced «trophy». These films caused a lot of criticism on the part of Agitprop, and in fact, saved the Soviet film distribution in the late 1940s — early 1950s. Fascination with foreign «innovations» was inevitable: the decline of the Soviet film industry didn´t allow satisfying the screen with new Soviet films, and nobody reduced plan profits from film distribution to the Ministry of cinematography. A great help in further raising the income of film distribution was the expansion of old Soviet films. In addition, cinema directors took a rather ingenious attempt of the extension of the films shown on cinemas at the expense of shooting on film theatrical productions.

Filmstatistisches Jahrbuch 2019

2019 ◽  
Author(s):  
Wilfried Berauer ◽  
Keyword(s):  
Statistical Data ◽  
Film Industry ◽  
Self Regulation ◽  
Film Production ◽  
German Film ◽  
Film Distribution

The statistics department of the Spitzenorganisation der Filmwirtschaft e.V. (SPIO), which represents the interests of the German film industry, continuously collects and records information and statistical data on the development of German film. Divided into sections on film production, film distribution, cinemas, cinema attendance and advertising in cinemas, as well as providing details about financial backing and statistics on voluntary self-regulation etc., this yearbook is an indispensable reference work for anyone who requires information on the German film industry.

From Film Practice to Data Process

2018 ◽  
Author(s):  
Sarah Atkinson
Keyword(s):  
Film Industry ◽  
Film Production ◽  
Profound Change ◽  
Data Process ◽  
Production Practices ◽  
Digital Film ◽  
Contemporary Britain

From Film Practice to Data Process critically examines the practices of independent digital feature filmmaking in contemporary Britain. The business of conventional feature filmmaking is like no other, in that it assembles a huge company of people from a range of disciplines on a temporary basis, all to engage in the collaborative endeavour of producing a unique, one-off piece of work. The book explicitly interrogates what is happening at the frontiers of contemporary ‘digital film’ production at a key transitional moment in 2012, when both the film industry and film-production practices were situated between the two distinct medium polarities of film and digital. With an in-depth case study of Sally Potter’s 2012 film Ginger & Rosa, drawing upon interviews with international film industry practitioners, From Film Practice to Data Process is an examination of film production in its totality, in a moment of profound change.

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