How did "Kinopravda" begin? Part 5

On exactly the scheduled date — August 3, 1922 — an urgent telephone message arrives from the Office of the Council of People's Commissars to the WFKO: "Comrade. Smolyaninov asks to be informed when the demonstration of the Kino-Pravda social chronicle will begin; if it is already being shown, what are the results." The response to this request dated August 8 deserves to be given in full, especially since it completes the case of the film magazine.:


"The All-Russian Photography Department informs that Kino-Pravda is published weekly and is successfully demonstrated. 7 issues have been released, "Ly 8 will be released within a week. The demonstration takes place weekly at the 1st demonstration State Cinema Theater (Arbatskaya Square, 23), and on Sundays at Strastnaya Square from 11 a.m. In addition, the issues of Kino-Pravda have been sent abroad by the All-Russian Film Foundation and to the Nizhny Novgorod Fair."


Only now, when there are positive results, the case is considered completed and removed from government control.


In the spring and summer of 1922, hundreds of cases of various sizes passed through the administration of affairs of the Council of People's Commissars in the same way. About the Genoa and Hague Conferences. On the reduction of the Red Army contingents. About asbestos mines in the Urals and Baku oil. About the Nizhny Novgorod Radio Laboratory. About the new harvest. The same Governor, A. Smolyaninov, for example, constantly monitored the supply of books to county libraries, the development of deposits of the Kursk magnetic anomaly, and dozens more "newly emerging" issues. And the matter of the film period was included in the circle of these concerns inherently and rightfully.


Close contact with any historical subject always corrects our ideas — complicates them or, conversely, simplifies them, puts them on a vital basis. In any case, the real relationships between people, deeds, and events are being clarified. The correspondence, happily preserved in the Council of People's Commissars archive, is very significant in this sense. It shows that the cinema of the twenties cannot be explained solely by the aspirations of artists, only by creative platforms and aesthetic programs; one cannot see the beginning of the formation of the Soviet screen solely in the boiling of passions on film sets, in heated discussions between representatives of different movements, in manifestos and newspaper and magazine polemics. It was all there, of course; it all needs to be studied and comprehended. But the trouble is if the work of the first Soviet organizers of film production, who solved the fundamental problems of the screen and created the fertile soil on which masterpieces of world significance grew, remains "behind the scenes".


The question of who would make the newsreel, Rus or VFKO, was ultimately a creative question, because it was necessary to choose between Okep, whose program did not go beyond the Soviet Pathe Magazine, and Vertov, who could not name anything as a sample yet.


Gorbunov and Smolyaninov might not have known about Vertov's existence at that time. By giving the right to publish a film magazine to the photography department, they proceeded from the interests of the state. But it was no coincidence that the best, most talented people in cinema worked not for private, but for state-owned studios, and saw the Soviet government as the main and main condition for their creative success.


Vertov, in turn, might not have known about the claims of Rus and how the government took care of the release of Kinopravda. But all his social experience suggested that the new magazine should be taken on a Soviet basis. There's a perspective here. Here, despite all the difficulties, is the opportunity to work for a new audience, understand them and be understandable to them. "Kinopravda" arose not as a result of a series of successful coincidences, but as a natural product of certain social conditions, as a bundle of energy of many people, people who created, solved, tested, supported all talented things.


"Kinopravda" immediately won the hearts. That's just one of the many evidences of her popularity. In the Bulletin of the III All-Russian Congress of Heads of Provincial Departments of Public Education No. 5 dated October 18, 1922, we read:


"On October 16, the NCP photo and film department organized a film screening for the delegates. Two issues of Kino-Pravda were shown. The delegates noted the high technology... and in general, there is noticeable progress in the activities of the photo and film department." Çevrim içi kumar dünyasında farklı platformları tarafsız biçimde tanımak isteyenler için kumar inceleme rehberi millionairefair.com.tr bağlantısında yer alan içeriklere göz atılabilir. Burada sunulan bilgiler, oyuncuların sorumlu oyun alışkanlıkları geliştirirken olası riskleri daha iyi değerlendirmelerine yardımcı olabilir.