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Russia |
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1911-1920 |
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| 1911 | ||||
| Films of Note | ||||
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The Kreutzer Scandal (Alexander Khanjonkov) [MORE] [ADD] |
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The Demon (Giovanni Vitrotti) [MORE] [ADD] |
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| Romance with Double Bass (Kai Hansen) [MORE] [ADD] | ||||
| The Tale of the Fisherman and the Little Fish (Kai Hansen) [MORE] [ADD] | ||||
| 1912 | ||||
Films of Note |
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Beautiful Liukanida (Ladislas Starevich) [MORE] [ADD] |
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The Cameraman’s Revenge (Ladislas Starevich) [MORE] [ADD] |
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The Great Man Goes for a Walk (Yakov Protazanov, Elizaveta Thiemann) [MORE] [ADD] |
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Merry Scenes of Animal Life (Ladislas Starevich) [MORE] [ADD] |
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The Secret of House No 5 (Kai Hansen) [MORE] [ADD] |
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| 1913 | ||||
| – All foreign film activity in Russia is forbidden. [MORE] [ADD] | ||||
| Russia 1913: Other Films of Note | ||||
| The Accession of the House of Romanov (1613) (Vasili Goncharov & Pyotr Chardynin) [MORE] [ADD] | ||||
| Asya the Student (Kai Hansen) [MORE] [ADD] | ||||
| Brothers (Pyotr Chardynin) [MORE] [ADD] | ||||
| The Grasshopper and the Ant (Ladislas Starevich) [MORE] [ADD] | ||||
| The Keys of Happiness (Yakov Protazanov & Vladimir Gardin) [MORE] [ADD] | ||||
| Merchant Bashkirov’s Daughter (Nikolai Larin) [MORE] [ADD] | ||||
| The Sorrows of Sarra (Alexander Arkatov) [MORE] [ADD] | ||||
| Tercentenary of the Rule of the House of Romanov (1613-1913) (Nikolai Larin & Alexander Uralski) [MORE] [ADD] | ||||
| Twilight of a Woman’s Soul (Evgeni Bauer) [MORE] [ADD] | ||||
| 1914 | ||||
| Films of Note | ||||
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Anna Karenina (Vladimir Gardin) [MORE] [ADD] |
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A Child of the Big City (Evgeni Bauer) [MORE] [ADD] |
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| Chrysanthemums (Pyotr Chardynin) [MORE] [ADD] | ||||
| Cold Souls (Evgeni Bauer) [MORE] [ADD] | ||||
| The Kreutzer Sonata (Vladimir Gardin) [MORE] [ADD] | ||||
| Life in Death (Evgeni Bauer) [MORE] [ADD] | ||||
| Silent Witnesses (Evgeni Bauer) [MORE] [ADD] | ||||
| 1915 | ||||
| Films of Note | ||||
| After Death (Evgeni Bauer) [MORE] [ADD] | ||||
| Children of the Age (Evgeni Bauer) [MORE] [ADD] | ||||
| Daydreams (Evgeni Bauer) [MORE] [ADD] | ||||
| Leon Drey (Evgeni Bauer) [MORE] [ADD] | ||||
| The Picture of Dorian Gray (Vsevelod Emilievich Meyerhold) [MORE] [ADD] | ||||
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The Strong Man (Vselevod Emilievich Meyerhold) [MORE] [ADD] |
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War and Peace (Vladimir Gardin) [MORE] [ADD] |
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Yuri Nagorni (Evgeni Bauer) [MORE] [ADD] |
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Dvoryanskoye Gnezdo (Vladimir Gardin) [MORE] [ADD] |
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Natasha Rostova (Pyotr Chardynin) [MORE] [ADD] |
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| 1916 | ||||
| Films of Note | ||||
| Arkasha series (Alexander Uralski) [MORE] [ADD] | ||||
| A Ballerina’s Romance (Boris Tchaikowsky) [MORE] [ADD] | ||||
| In a Busy Place (Czeslaw Sabinski) [MORE] [ADD] | ||||
| The Dying Swan (Evgeni Bauer) [MORE] [ADD] | ||||
| A Life for a Life (Evgeni Bauer) [MORE] [ADD] | ||||
| Nelly Raintseva (Evgeni Bauer) [MORE] [ADD] | ||||
| The Queen of Spades (Yakov Protazanov) [MORE] [ADD] | ||||
| Queen of the Screen (Evgeni Bauer) [MORE] [ADD] | ||||
| 1917 | ||||
| 30/3 - | The Union of Patriotic Filmmakers release The Great Days of the Russian Revolution to commemorate the events leading to the abdication of the Czar. The film is directed by Vyatcheslav Viskovsky and Boutch Tovmarchersky. [MORE] [ADD] | |||
| Russia 1917: Other Films of Note | ||||
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Korol Parizha (Yevgeni Bauer) [MORE] [ADD] |
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Revolutsioner (Yevgeni Bauer) [MORE] [ADD] |
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Satana likuyushchiy (Yakov Protazanov) [MORE] [ADD] |
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| 1918 | ||||
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| 1/6 - | Dziga Vertov, under the supervision of director Lev Kuleshov, becomes chief editor of Kino-Nedelia (Cinema Weekly), a filmed news periodical. [MORE] [ADD] | |||
| 27/7 - |
The Soviet Cinema Committee begin filming Signal, the first state-produced fiction film. Aleksandr Arkatov directs from a story by Vladimir Mikhailovich Garshin. [MORE] [ADD] |
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| 13/8 - |
Lenin’s newly installed government harnesses the power of film to spread its propagandistic message with the maiden journey of its propaganda train. The train, equipped with projector equipment and darkroom is despatched to the Kazan region to film the struggles of the civil war in an attempt to dispel counter-revolutionary propaganda by the Bolsheviks. [MORE] [ADD] |
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| Russia 1918: Other Films of Note: | ||||
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Baryshnya I khuligan (Yevgeni Slavinsky & Vladimir Mayakovski) [MORE] [ADD] |
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| 1919 | ||||
| 10/2 - |
Vladimir Gardin delivers a lecture to the Re-Editing Department of the Moscow Film Committee about montage theory. Amongst the audience is Lev Kuleshov, who goes on to carry out experiments intended to prove that juxtaposition of shots gives meaning to film. [MORE] [ADD] |
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| 27/8 - |
The nationalisation of the Soviet film industry begins with the signing of a decree in the Kremlin regarding “the attachment of the photographic and cinematographic industries to the people’s commissariat for the education of the public. This gives the government the right to “requisition materials and apparatus used in photo-cine from large firms and small businesses.” [MORE] [ADD] |
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| 1/9 - |
The State School of Cinematography, for the training of directors, cameraman, technicians and actors, opens. [MORE] [ADD] |
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– Dziga Vertov proposes his cinema-eye (Kinoglas) theory, which becomes the forerunner of cine-verite and documentary film. [MORE] [ADD] |
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| Russia 1919: Other Films of Note | ||||
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Polikushka (Alexander Sanin) [MORE] [ADD] |
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| 1920 | ||||
| 23/1 - | The Manifesto of the Council of Three to the Cinematographers publishes a blueprint for the Soviet cinema. Dziga Vertov is amongst the signatories. [MORE] [ADD] |