The 1960s witnessed the transformation of “film factories” from metaphor to lived reality. Lenfilm’s output rose once more to the levels its predecessor studios had reached in the 1920s, but the conditions of production were now far more complex and demanding, with staffs more than ten times the size. And while the 1960s was an era of optimistic emphasis on the Soviet film industry’s capacity to equal and surpass the world in technological terms, during the 1970s, the conviction took hold that the technological superiority of Western films was of direct relevance to audience share. Increasingly, ambitious filmmakers petitioned Goskino for permission to shoot on Kodak and to use Arriflex cameras; criticism of inferior Soviet film stock and GDR-produced film editing tables mounted, both across the USSR and at Lenfilm itself. Yet investment in studio infrastructure and technology remained at best haphazard, particularly at Lenfilm, which enjoyed less generous support from the center than Mosfilm, but also more limited resourcing than film studios in the capitals of Soviet republics. At the same time, Lenfilm had an unusually diverse, energetic, inventive, and loyal workforce, with corporate values that inspired manual workers and porters as well as “creative” personnel. Hierarchical at some levels, the work culture was egalitarian at others, and the frenetic process of scrambling to finish films in trying circumstances created strong bonds. The chapter explores the various conflicts and contradictions, but also rewards, that this situation generated.
EDITING CROSS-CUTTING IN THE FILM HAJI BACKPACKER
