The working masses were attached to art

It was in them, in this cohort of Bolsheviks working in the field of cinema, VI Lenin saw the basic condition for the conduct of a correct party policy. It was through them that Lenin and the Central Committee of the RCP (B) exerted influence on the cinema. For example, in the winter of 1921, when the most difficult ideological transition of the country to the NEP was to come, Lenin addressed a special letter to the Communists-workers of the People's Commissariat of Education, where he laid down the basic principles of leadership for the whole system of education. This is a very typical case.

That is why, it seems to me, we should not require the volume under discussion of some separate, detached statement of party politics. The activities of Soviet film institutions, the best examples of the work of filmmakers of those years just give grounds for judging the party's policy in the field of cinema, about the methods for implementing it.

Here the question of the Proletculist was touched upon. We all know that this current in the cinema is represented primarily by the co-operative society Prolethenno. Different researchers regard it in different ways. I can agree with BS Gromov, who said in his speech that we should not simplify the role of Proletkult, completely deny its influence on our culture. Now, not only in the art criticism, but also in general historical literature, the view that distinguishes the two sides in the activities of Proletkult is spreading more and more. One side was that with the help of Proletkult the working masses were attached to culture and art. In the lower proletcult circles, the workers learned to understand music and painting, sculpture and theater, cinema and poetry. It was here that all the positive things in the Proletariat were concentrated, which had nothing in common with the theories of some of its leaders. The other side was to plant sectarian theories, according to which only art, created by workers from the machine, had the right to exist. We strongly condemn this aspect in the approach to the problems of culture in the Proletariat.

Both these tendencies of Proletkult can easily be traced on the material of the cinema.

Very typical in this respect is the protocol of the first organizational meeting of the cooperative society, Proletkino, held on December 2, 1922. Here, in the main report, the main task is to "be one of the powerful means of enlightening the workers." And in the debate, this clear and precise formulation of the question as it departs to the background, is replaced by judgments about "film schools with proletcultures, which will be the basis for the production team of filmmakers." As we can see, both trends are expressed in this protocol quite clearly.

And it immediately becomes clear why the Central Committee of the RCP (B.) Supported the enlightening direction of the work of Proletniko and limited attempts to establish film production without involving professional professionals in it ...

In conclusion, it should be noted that the new volume of the "History of Soviet Cinema" is a significant step forward in comparison with both "Essays on the History of Soviet Cinema", published in the fifties, and a monograph prepared recently at VGIK.

I have to make a reservation - I'm acting in an unusual role for me. All my life I tried, of course, of course, "to make cinematography," and not to fix the process of its development. But there's nothing to be done - time and age are increasingly inciting me to memoirs. Obviously, this gives me the right to speak here as a witness, or what?

I will say right away that the first volume of The History of Soviet Cinema is a good book. It is not only interesting, but also brings into use a lot of historical material that has not been used so far. And I do not agree with Boris Gromov's optimistic statement that there are no factual errors in the book, they are, but fortunately, the errors are so insignificant that it would be a sin to remember them here. litigation



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