A detailed analysis of the cameraman - still a rare phenomenon in the pages of the cinematic version. Years pass, film enriched with new products.But still, without aging, go to the screen "Battleship" Potemkin "," descendant of Genghis Khan ", a trilogy about Maxim," Dream "... And eye of the viewer, usually connects these pictures only with the names of directors and appoint them. The names of the same operators are usually found only in highly specialized or literature, or briefly mentioned in books on the history of cinema.Even such masters as Levitsky Tisse, Volchek, Shaggy, not focused on any specific books, or even substantive articles. However, the study of the evolution of cinema requires a deep analysis of its iconic shape, because the image is not just carries a statement of events occurring on the screen, but it expresses the meaning of the idea of вЂ‹вЂ‹the work.This collection is the first experience systematize the contributions of the operators in the Soviet cinema. It consists of ten portraits of masters belonging to the older generation of Soviet cameramen.Together with prominent directors Eisenstein, download the film Mandi
and Pudovkin, Dovzhenko, Romm and others, these operators not only participated in the creation of the immortal masterpieces of cinema, but also made a great contribution to the establishment and development of the language of cinema.They initiated the Soviet cameraman schools, train their creativity and teaching activities of the achievements of Soviet tion cameraman art. The search for the plastic, visual expression began in the era of silent movies, in the years when the film tolkotolko understand themselves, their capabilities, groping for the future path.Operators learned to transfer the beauty of nature and variability, to notice and identify the characteristic of a-'face of the person to give imaginative interpretation of life phenomena. Cinematography was formed by the practical. Soviet masters of the older generation came to the cinema in the years when he was in a state of profound crisis.The legacy of the pre-revolutionary film studios were crumbling, almost unusable, loss of lighting and film equipment, bad traditions and stamps. Alexander Levitsky later recalled how he and his colleagues had to hold responsible for shooting newsreels kuskahostatkah film found in the basement studio.However, for a very short period of time the first Soviet film enthusiasts managed to recover not only the film set to fix technique to master for the first time download the film Mandi
and released the domestic film, but also to create the world-famous for blockbusters.In the triumphant success of the movie "Battleship" Potemkin "," Mother "," Earth "," Outskirts "and" We Are from Kronstadt "much of the credit belongs to the operators.For the first time in the world along with the names of filmmakers Eisenstein, Pudovkin, Dovzhenko names sounded Tisse, head, Demutsky, Moskvina, Nielsen NaumovaStrazha first appreciated creativity cameraman.
In the first decades of the cinema operator's profession was not considered a creative profession.To the operator as a technical artist persisted for a long time in many countries download the film Mandi