355-397
Theoretical Concepts of Film Studies in Cinema Art Journal in the First Post-Soviet Years: 1992–2000
Authors: Alexander Fedorov, Anastasia Levitskaya
Number of views: 27
Throughout the 1990s, the content of Cinema Art depended quite substantially on political and economic developments in the world and in Russia; theoretical articles about cinematography very often occupied a very modest place on the pages of the journal.
The frequency of theoretical articles in the journal Cinema Art in the post-Soviet 1990s ranged from six to thirty-five per year. At the same time, due to the sharp politicization and focus on non-film texts, the minimum of film theory in the journal's texts occurred in the first three post-Soviet years.
Our analysis of film theory concepts (in the context of the sociocultural and political situation, etc.) of the existence of the journal Cinema Art in the first post-Soviet decade (1992−2000) showed that theoretical works on cinematic subjects during this period can be divided into the following types:
- articles, discussions devoted mainly to theoretical analysis of the heritage of the classics of Soviet cinema, directing, the problemы of Cinema and the Spectator, film criticism and film studies, etc. (L. Anninsky, O. Aronson, Y. Bogomolov, S. Dobrotvorsky, E. Dobrenko, D. Dondurey, V. Matisen, K. Razlogov, M. Turovskaya, M. Zak, M. Zorkaya, and others);
- articles on the theory of foreign cinematography (D. Komm, M. Trofimenkov, N. Tsyrkun, etc.).
On the whole, in the 1990s, as well as during the Perestroika period, Cinema Art drastically re-evaluated the history of Soviet and world cinematography and tried to objectively analyze the development of the current cinema process.