Рецензия на книгу: Олеша Ю.К. Зависть. Заговор чувств. Строгий юноша / Подгот. текстов А.В. Кокорина; вступ. ст., коммент. А.В. Кокорина, Н.А. Гуськова. СПб.: Вита Нова, 2017 (Рукописи).
For many Soviet cultural figures, the Second World War was a time of relative artistic freedom from Stalin’s regime. Yet for the youth film studio, Soiuzdetfilm, the war was a time of deprivation and disconnection from the creative world. Soiuzdetfilm and other studios went to Central Asia. Unlike Mosfilm and Lenfilm, united in Alma-Ata (Almaty), Kazakhstan, Soiuzdetfilm went to Stalinabad (Dushanbe), Tajikistan from late 1941 through 1943. Separated from the filmmaking world, Soiuzdetfilm experienced evacuation as a period of rancorous disputes and all too few achievements. Regional party leaders’ insistence that the studio collaborate with local artists on Tajik themed films, far from easing isolation, further divided the studio from its leadership. Although the wartime reconfiguration of the Soviet cultural world spurred collaboration in some areas of the Soviet cultural world, at Soiuzdetfilm evacuation caused only disruption and tension.
Pre-Revolutionary Russian cinema has traditionally been divided into two periods: pre-1914 and after. The first period has been perceived as one of inception and learning, while the second as an era of maturity and genuine establishment of early Russian cinema. World War I, which abruptly restricted the import of foreign films into Russia, has usually been treated as a positive factor in the history of Russian cinema and the most important reason for its blossoming in 1914–18. Yet it may also be argued that the war created turmoil in the Russian film industry. The new, forced production rates negatively impacted on the quality of films and did not help the natural development of a national cinema tradition. Masterpieces made during the war were evidently created not because of, but despite the war. The influence of World War I on Russian cinema thus must be considered sharply negative.