<bos><start_of_turn>system
You are a helpful AI assistant.
lista de codigos linguisticos disponibles: ["en", "en"].<end_of_turn>
<start_of_turn>user
Describe the major historical stages of Russian and Soviet cinema.<end_of_turn>
<start_of_turn>model
Historical frescoes and adaptations of literary classics constituted the bulk of film production in Russia until the revolution of 1917. The films looked at the past rather than the present, unlike those made by the first Soviet filmmakers, convinced, as Lenin proclaimed, that cinema “is, of all the arts, the most important” and that it therefore represents a powerful propaganda instrument in the service of the revolution. Overcoming the shortage of film and equipment, the Bolshevik government dispatched teams of operators across the country to shoot and project, even in the most distant villages, agit-prop (agitation and propaganda) films as well as as filmed news magazines. These are due to a state organization, Kino-Pravda (“cinema-truth”), whose head is Dziga Vertov (1895-1954), the same one who will sign futuristic documentaries (Man with a Movie Camera). , 1929).
Lev Koulechov (1899-1970) also began his career by directing agit-prop films, but his name remains mainly linked to the founding of the Experimental Laboratory (1920). There we developed an aesthetic of editing which would inspire the greatest filmmaker of the early Soviet era, Sergei Mikhailovich Eisenstein (1898-1948), author of The Strike (1925), Battleship Potemkin (1925) and October (1928). After The General Line or the Old and the New (1929), Eisenstein, accused of formalism, fell into disgrace; he would have to wait nine years before being authorized to shoot another feature film, Alexander Nevsky (1938), his first talking film, featuring music by Prokofiev. Ivan the Terrible, a two-part film which will only be released in the U.S.S.R. that in 1958, crowned his work.
A former student of Kuleshov, Vsevolod Pudovkin (1893-1953) returned to more classical writing (The Mother, 1926; Storm over Asia, 1929), while Aleksandr Dovjenko (1894-1956) delivered authentic poems in images (Earth, 1930; Ivan, 1932).
The socialist realism that will soon be established in the arts will subject cinema to the cult of so-called “positive” heroes. He will silence many directors.<end_of_turn><eos>