УКРАЇНСЬКЕ КІНОМИСТЕЦТВО 20-Х РОКІВ ХХ СТ.: ОРГАНІЗАЦІЙНО-ТВОРЧІ ТРАНСФОРМАЦІЇ

МИСЛАВСЬКИЙ, ВОЛОДИМИР НАУМОВИЧ

УКРАЇНСЬКЕ КІНОМИСТЕЦТВО 20-Х РОКІВ ХХ СТ.: ОРГАНІЗАЦІЙНО-ТВОРЧІ ТРАНСФОРМАЦІЇ

МИСЛАВСЬКИЙ, ВОЛОДИМИР НАУМОВИЧ

URI: http://elib.nakkkim.edu.ua/handle/123456789/3000

Date: 2019

Abstract:

Дисертація присвячена дослідженню організаційно-творчих трансформацій в українському кіномистецтві 20-х рр. ХХ ст. які полягають в становленні та розвитку кіногалузі України (кіновиробництво, кінофікація, кінопрокат), а також вивченню становлення кіножанрів у контексті змін соціально-політичної ситуації того часу. Виокремлено три основоположні напрями розвитку української кінематографії: 1) становлення системи державного управління української кіногалузі; 2) формування умов кіновиробництва; 3) тематично-жанрові тенденції і пріоритети державної репертуарної політики в галузі кіномистецтва. На основі всебічного аналізу широкої джерельної бази і залучення до наукового обігу раніше невідомих архівних джерел та матеріалів періодики реконструйовано функціонування української кіногалузі особливості її розвитку, визначено фактори, що вплинули на формування й розвиток українського кіномистецтва як основної складової української кіногалузі.

Description:

The thesis deals with organizational and creative transformations in the Ukrainian motion picture art in the 1920’s: the formation and development of the Ukrainian film industry (film production, spreading of the cinema, film distribution), as well as its genre diversity, against the background of social and political changes of that period. Three major dimensions of the development of the Ukrainian cinematography are highlighted: 1) establishment of the public administration system over the Ukrainian film industry; 2) laying the groundwork for film production; 3) thematic and genre trends and priorities of state repertoire policy concerning motion picture art.Based on a comprehensive analysis of a solid pool of sources and involvement of previously unknown archival records and publications in the periodicals, the functioning of the Ukrainian film industry has been reconstructed; factors affecting the formation and development of the Ukrainian motion picture art as the main component of the Ukrainian cinema industry have been identified. Section 1 “Historiography, Sources and Research Methodology” consists of two subsections and focuses on the background and methodology of the research. Present-day Ukrainian film studies face the challenge of rethinking the historical and theoretical aspects of cinematography. The vital task of the Ukrainian film studies is the reasonable inclusion of early phases of cinema development in Ukraine into the history of national cinematography. Solving this task could allow to reconsider the traditional approaches to exploration of national cinematography genesis, and to overcome a false tradition of interpreting the Ukrainian cinematography genesis in terms of integrity of Soviet motion picture art. Section 2 “Establishment of the public administration system over the Ukrainian film industry” consists of four subsections covering the activities undertaken by the government machine for normalization of the Ukrainian cinematography. Consequences and impact of rules and regulations adopted by the government on the Ukrainian cinematography development have been analyzed; establishment of the administrative structure governing the film industry has been described. Influence of the personnel policy introduced by the All-Ukrainian Photo and Cinema Administration (VUFKU) on the development of the Ukrainian motion picture art has been contemplated. Section 3 “Laying the groundwork for film production” consists of three subsections providing insight into the formation of material and technical basis of the Ukrainian cinematography. The setting-up of manufacture of film projectors and other cinema equipment has been investigated. High emphasis in this work is placed on retrofitting of Odessa and Yalta film studios and construction of Kyiv film studio - the largest film factory in Europe. These processes enabled the Ukrainian film production to move to the fore among all film studios in the USSR in terms of technical facilities. Local manufacture of cine film, cine equipment, and elimination of dependency on imports in this area were officially recognized as important goals of the Ukrainian cinematography. Section 4 “Thematic and genre trends and priorities of state repertoire policy concerning motion picture art” consists of eight subsections providing a comprehensive overview of the scriptwriting crisis onset and attempts of overcoming this crisis; formulation of the concept of repertoire planning in film production; reshaping of the old and creation of the new genre framework; and creative relations between the Ukrainian cinematography and various artistic associations in Ukraine. Market was the fundamental mechanism driving the functioning of the Soviet film NEP (New Economic Policy). Movie theatre network was expanding under the market laws, and commercial film distribution was in the spotlight. Money raised from film distribution enabled motion picture companies to launch their own production facilities.

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