Among several generations of the Soviet artistic intelligentsia, there is one, the eldest, already, unfortunately, passing away, whose youth coincided with the years of the civil war and the reconstruction period. At the same time, his creative life began. These are the initiators, the first masons and the first builders of the art of the Soviet era. Esther Shub, one of the creators and the greatest masters of Soviet documentary cinematography, also belonged to them.


All representatives of this generation are akin to each other. With the greatest vividness, his features were expressed in the biography, creativity, personality of Mayakovsky, whom they treated as their recognized leader.


"Vladimir Mayakovsky is a poet of our generation. He is us. Our thoughts, our revolutionary aspirations, our lyrics," writes E. Shub in the book of memoirs and reflections "Close-up", published recently, just two or three months before her death.


Like Mayakovsky, all representatives of the generation did not hesitate for a minute to "accept or not accept" the revolution. They fought on the fronts, did any necessary work in the rear.


In the first months after October, as a very young girl, Shub entered the theater department of the People's Commissariat of Education. Her story about THEO's work, about meetings with prominent directors, actors, playwrights is one of the most interesting chapters of the book. The ability to create lively and vivid portraits of contemporaries has always been one of the greatest strengths of Shub's talent as a director. It was also reflected in her book. The reader will find in this chapter several excellent portraits, and among them the most interesting and vivid is the portrait of an outstanding figure of Soviet culture — A.V. Lunacharsky.


In search of a necessary and useful profession, Shub entered a rental office, where for several years she was engaged in remounting foreign films, preparing them for release on our screens. In three years she rewrote and made inscriptions for two hundred films! It was hard work, but while doing it, for the first time she thought about the problems of installation, mastered the ABC of this business. The ABC, however, was invented by her — editing was such a new field that there was no one to learn it from.


In those years, in both documentary and art cinematography, it was the problems of editing that seemed almost the most important. All critics unanimously wrote about the brilliant editing skills of Fur Coats. But it is precisely in this skill of hers, in the poetics of the films she created, that perhaps one of the main features of the Mayakovsky generation was expressed with the greatest force. The poet himself, his colleagues and followers never thought of their work as divorced from politics and treated art, including cinema, as a powerful means of political education, and demanded from themselves, first of all, devoted service to the people, the party, the state.


In Shub's films, editing was always only an expression of sharp and clear political thought. It was this thought that determined the course of the editing phrase, the alternation of frames, the texts of inscriptions. The peculiarity of Shub's creativity is not at all in special editing techniques and effects, but first of all in the originality of his penetrating thoughts, in journalistic passion, in the logic of the development of individual themes and images of her films.


The chapter of the book, which is specifically devoted to documentary films and in which the main attention is paid to the problem of editing, and Fur Coats' passing statements on the same topic in other chapters will be read and studied with great interest not only by cinematographers, but also by the widest range of readers.


The portraits of her contemporaries, friends, and "co—workers" - Mayakovsky, Eisenstein, Vertov, Vs. Vishnevsky - were carefully and carefully drawn out. In the chapters devoted to these artists, there are new facts, details preserved by the observant author of the book, and the brightness of the characteristics. But one Feature in these chapters is particularly striking. The feeling of surprise and delight in the talent of those about whom she writes does not leave the Fur Coat for a minute. They really appear before the reader "close-up", which reflects both the most important and the most beautiful in them.


This is a trait of youth — the ability to admire, the ability to talk about a talented person, about the originality of his behavior, the manner of talking, communicating with friends, arguing, performing.


For the last ten years of her life, Shub was bedridden with a severe heart disease. She wrote the book as an elderly and sick person. And the book is young, cheerful, in love with the era to which it is dedicated, with the art to which the author gave his life, with friends and associates with whom he passed his life path. It could not be otherwise in a book written by a man of Mayakovsky's generation. Clube de jogos Sapphirebet oferece a oportunidade participar em slots por dinheiro real. Entre. Entre. Dê uma olhada nisso. Site seguro https://sapphirebet.com/br/line/boxing Registre-se e aposte em championship ao vivo/linha agora mesmo!