Belarusian cinematography: now and tnen

BELARUSIAN CINEMATOGRAPHY: NOW AND TNEN

Belarus has been producing films for nearly 80 years. The news film production began since 1925 when the establishment of the State Cinematography and Photography Department (Belgoskino Trust) at the end of 1924 resulted in setting up its own film laboratory in Minsk. The first Belarusian feature film Forest True Story (production director Yu. Tarich) was produced in 1926. In 1928, the film studio Sovetskaya Belarus was set up in Leningrad, it worked in Minsk since 1939 and was renamed into Belarusfilm in 1946, and into the National Film Studio Belarusfilm in 1997. A Creative Association of Documentary and Popular-Scientific Films Letapis has been involved in the film produc­tion within its structure since 1968, and the animated cartoon studio — since 1975.

The theme of the nation's struggle for national and social liberation was dominant in the Belarusian cinematography of the 1920-1930s (See You Tomorrow and July the Eleventh of Yu. Tarich, Kastus Kalinovsky of V. Gardin; Born in Fire and Fiery Years of V. Korsh-Sablin). Simultaneously, the films about contemporary life were produced (Born Twice of E. Orshansky, Searching for Good Luck and My Love of V. Korsh-Sablin, Ship Route of Yu. Tarich and others), as well as feature films for children (Polessie Robinsons of I. Bakhar and L. Molchanov, the Concert of Bethoven of V. Shmidtgof and M. Gavronsky and others). At that time of special importance were the following film versions: Noise of Pines of P. Molchanov, Nightingale of E. Orshansky, Bear and The Man Keeping Himself in Cotton Wool of I. Annensky, Mask and Burbot of S. Sploshnov and others.

The Belarusian cinematography reached significant success in producing films related to the Great Patriotic War, namely, Konstantin Zaslonov of V. Korsh-Sablin and A. Fainzimmer, The Clock Stopped at Midnight of N. Figurovsky, Through a Graveyard and I am from Childhood by Birth of V. Turov, Alpine Ballad of B. Stepanov, The Third Flare of R. Victorov, Shooting Ruins, Flame and Black Birch Tree of V. Chetverikov, Witness of V. Rybarev Go and Look of E. Klimov, The War Possesses No Woman's Features of V. Dashuk and others.

Children and historic film producers (Red Leaves of V. Korsh-Sablin, Moscow-Genoa of A. Speshnev, I am Francisk Skaryna of B. Stepanov and others), producers of film versions (Pavlinka and Nesterka of A. Zarkhy, Who Laughs Last and First Ordeals of Korsh-Sablin, Wild Hunt of King Stakh of V. Rubinchik, People on the Marsh of V. Turov, Alien Ancestral Lands of V. Rybarev, Parents and Children of V. Nikiforov, Sign of Misfortune of M. Ptashuk and others), as well as producers of films about contemporary life (Sunday Night of V. Turov, I’ll Share Your Pain of M. Ptashuk, Flood of V. Chetverikov, White Dews of I. Dobrolyubov, My Name is Harlequin of V. Rybarev and others) added new bright pages to the history of the Belarusian cinematography in the 195O-1980s. Some children films (A Girl Searches for Father, Mikolka the Steam Locomotive, Oginsky’ s Polo­naise and others of L.Golub, Adventures of Pinoccio, Red Hood and others of L. Nechaev, The City of Masters of V. Bychkov, Ivan Makarovich, Timetable for the Day After Tomorrow of I. Dobrolyubov and others) were shown almost in 100 countries worldwide.

Since the late 1980s, Belarusian cinematographers sought to more profoundly comprehend the history of their country making such films as Our Armored Train and Cooperative "Politbureau" of M. Ptashuk and tried to "fill" blank pages of the history (Az Vozdam [Requite]) of B. Ste­panov, M. Kosymov and B. Shadursky, On Black Glades of V. Ponomorev, Nestless Birds of V. Dudin and Anastasiya of Slutsk of Yu. Elkhov).

Since 1937, Belarusian films were awarded with prizes at dozens of international film festivals and are regularly presented at the large European film markets.

Currently, the National Film Studio Belarusfilm may produce 10-12 feature films, 20-25 documentaries and 4—5 animated cartoons a year.

Since 1981, the Movie Actor Studio-Theatre and since 2001 the Be­larusian Cinematography History Museum function within the structure of the Belarusfilm.

In addition to feature films, a large number of video films are produced by the production and creative enterprise Belarusian Video Center in Belarus since 1989. Its major goals imply producing films covering major cultural and political events in the country, promoting spiritual revival of the nation, propagandizing the Belarusian culture abroad, as well as creating the film fund of historical and cultural heritage of Be­larus.

Nearly 3 thousand film-projectors (including 160 movie theatres), as well as 346 video rooms and video hire clubs operate in Belarus.

Since 1962, the Belarusian Cinematographers Union contributed greatly to the development of the Belarusian cinematography — it, in particular, actively promoted establishment of independent film and video studios since the late 1980s — and is one of the major promoters and organizers of the International Film Festivals Listapad, Female Movies (Minsk), Animaevka (Mogilev), the National Festival of Bela­rusian Films (Brest) and others.

Additional information: Ministry of Culture of the Republic of Belarus

http://www.kultura.by

Ex.I. Recall what events are connected with the following dates:

1925 1926 1928 1939 1946 1997

Ex.II. Arrange the following titles in chronological order:

the National Film Studio Belarusfilm

the film studio Sovetskaya Belarus

the State Cinematography and Photography Department (Belgoskino Trust)

Belarusfilm

the animated cartoon studio

the Belarusian Video Center

Ex.III. Mark the statements as ‘true’ or ‘false’. Correct the false ones.

1. Belarus has been producing films for nearly 50 years.

2. The news film production began in 1925.

3. The first Belarusian feature film “Forest True Story” was produced in 1920.

4. The film studio “Sovetskaya Belarus” was set up in Minsk in 1928.

5. The theme of the nation’s struggle for national and social liberation was dominant in the Belarusian cinematography of the 1920-1930s.

6. The Belarusian cinematography reached little success in producing films related to the Great Patriotic War.

7. Children and historic film producers, producers of film versions added new bright pages to the history of the Belarusian cinematography in the 1950-80s.

8. Some children films were shown almost in 200 countries worldwide.

9. Since 1937, Belarusian films have been awarded with prizes at dozens of international film festivals.

10. Belarusian films are regularly presented at the large European film markets.

11. The National Studio Belarusfilm may produce 10-12 feature films, 30-35 documentaries and 6-7 animated cartoons a year.

12. Since 2001 the Belarusian Cinematography History Museum functions within the structure of Mosfilm.

13. A large number of video films have been produced by the production and creative enterprise Belarusian Video Centre in Belarus since 1989.

14. One of the major goals of the Belarusian Video Centre is creating the film fund

of historical and cultural heritage of Belarus.

Ex. II. Answer the questions:

1. For how long has Belarus been producing films?

2. When did the news film production begin?

3. When was the first Belarusian film produced?

4. When was the film studio ”Sovetskaya Belarus” renamed into “Belarusfilm”?

5. What theme was dominant in the Belarusian cinematography of the 1920-1930s?

6. What films were a significant success?

7. What films were shown in almost 100 ountries?

8. What is the contribution of the Belarusian Cinematographers' Union to the development of the Belarusian cinematography?

9.What are the main themes of Belarusian films?

10. What kinds of films are being made nowadays?

11. Is the capacity of the Belarusfilm sufficient?

Ex. IV. Discussion:

1. Speak on the early years of the Belarusian film studio.

2. Speak on the success of Belarusian films related to the Great Patriotic War.

3. Discuss with your groupmates how Belarusian cinematographers work now.

4. Compare Belarusian films now and then.

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