It happened often, sometimes a couple of times a month. In the evening, about nine o'clock, after having suppered in the company of his inner circle, the comrade led his comrades-in-arms to the cinema. “The cinema hall,” the leader’s daughter recalled, “was built in the premises of the former winter garden, connected by passages to the old Kremlin palace.” A long procession marched "to the other end of the deserted Kremlin, and heavy armored vehicles crawled in single file behind and countless guards walked ... The movie ended late, at two in the morning: they watched two films or even more ... ".
For almost ten years, until his arrest in January 1938, the head of the Main Directorate of the Film and Photo Industry under the Council of People's Commissars of the USSR was responsible for the Kremlin film screenings. Born in 1886 in Verkhneudinsk, a place of hard labor and exile, he went through the school of a professional revolutionary, who, like a military man, was thrown from region to region by fate and the will of his superiors, from appointment to appointment. After October 1917, he happened to work in Mongolia and Persia, performing trade and diplomatic missions, and at the same time more delicate ones, until the nomenklatura lot made Shumyatsky the head of Soviet cinema.
Apparently, Boris Zakharovich had an innate business acumen. He managed (and this can be seen from his notes) to submit the products of his department to the leader's judgment in the most advantageous way and to extract the greatest benefit for the film industry from the goodwill of the top. It was a difficult and dangerous job.
Koba, as Shumyatsky often refers to Stalin in the pre-revolutionary manner (which only a few of his old associates dared to do), who once composed poetry himself, may have had a more refined artistic taste than other participants in the Kremlin cult trips. In Stalin's perception, the spectacle of a picture could occasionally outweigh its political purpose.
And yet, cinema, like all other genres of art, remained for the leader an instrument of politics, and cinema required special control. However, the Soviet "cinema brethren", despite their drill, sometimes tried to break the harmony of the ranks, more often through thoughtlessness, sometimes because of non-party interpreted freedom of creativity. For the time being, Shumyatsky managed to settle ideological misunderstandings, protecting talented artists, and unsuccessfully begging for the highest blessing and money to create a domestic film industry.
But the life of a courtier is unpredictable. For no apparent reason, the favor was replaced by disgrace, and in July 1938, the life of Boris Zakharovich Shumyatsky was cut short at the infamous firing range in Butovo.
Film lovers can be grateful to Shumyatsky for "Merry Fellows", "Chapaev", "Peter I" and many other classic films, the appearance of which he contributed to the best of his ability. Historians have another reason for gratitude. For several years, Shumyatsky kept records, almost verbatim, of conversations and remarks that were exchanged between viewers of the elite Kremlin cinema. It is difficult to say whether he took notes during the sessions or reproduced from memory what he heard later, but Boris Zakharovich managed to convey not only the essence of what was said, but sometimes even the stylistic features of speech. Moreover, unlike the transcripts of the speeches of great leaders at official events, when each word was weighed before being uttered, and, if necessary, later corrected or replaced, Shumyatsky's recordings recorded a lively, non-protocol speech of people gathered in their narrow circle, so that a little unwind. But what can you do if the craft of a ruler makes him think about politics and notice the class background of even the most banal scene even in moments of rest?
63 records have come down to us, if you like - laid-back sketches of Stalin and his entourage. Some of the notes have not survived, and sometimes the "session" was not captured on paper. Shumyatsky's materials were kept in the so-called Stalin's personal fund, where they ended up, most likely, after Shumyatsky's arrest. Currently, the fund is in the Russian State Archive of Socio-Political History (F. 558. Op. 11). Not all of Shumyatsky's notes are included in this publication, however, the proposed material gives a very clear idea of the nature of the document, its characters, and its creator.
When preparing documents, the spelling of some words (for example, a film) and abbreviations were preserved. Surnames in square brackets are inserted by the compilers, in round brackets - as in the document.
Introductory article by K.M. Anderson, preparation of documentsK.M. Anderson and L.A. Horny.
On the last day of December 1937, early in the morning, Boris Zakharovich Shumyatsky, head of the Main Directorate of Cinematography under the Council of People's Commissars of the USSR, returned from a business trip to Lenfilm and from the station went straight to a dacha near Moscow, where he was going to celebrate the new year with his family. In the afternoon, Stalin's assistant T.A. Poskrebyshev called him.
"The Master is calling you," he said laconically.
The head of the GUK had to celebrate the New Year at Stalin's. As the wife of B.Z. Shumyatsky said, at the festive table the first toast was proclaimed to the health of the leader. Boris Zakharovich, who could not even bear the smell of alcohol, only sipped his glass. Stalin, accustomed to closely monitoring the behavior of his guests and drinking companions, shook his head reproachfully and made a remark to his director of cinematography, although he knew about his negative attitude towards alcohol.
"What, you don't want to drink to my health?"
“You know, Koba, that I don’t drink.
“They taught everyone, but you didn’t. You want to be the best!
“It is impossible to teach me this. The body does not accept.
Looking with frank disapproval at his subordinate, Stalin, after a short pause, said
- Nothing ... and they didn’t bend like that.
In the morning, with a heavy feeling in his soul, Shumyatsky returned to his relatives, realizing that he was no longer pleasing to the Master. In the cellars of the Lubyanka, many senior officials of the GUK and close friends - the old Bolsheviks - have already disappeared.
A week after the "meeting" of the new year, the head of the GUK received an order to dismiss, but "above" were silent when he tried to find out something by phone about his future fate, which had already been decided: an enemy of the people.
For many years, the repressed Shumyatsky was remembered with reluctance, even with irony, preferring to associate only negative phenomena in the history of Soviet cinema with his activities. It's not fair.
BZ Shumyatsky lived only 52 years. His father, a bookbinder, having not received the right to reside in the capital, left St. Petersburg and settled with his family in one of the areas of the Pale of Settlement.
The young Shumyatsky was an active participant in the armed struggle against tsarism in Krasnoyarsk in the autumn and winter of 1905, and in January 1906 he escaped from the Krasnoyarsk prison, lived on a false passport, and even headed the party newspaper Baikal. Persecuted by the authorities, he left with his family for Argentina, where he lived and worked as a political exile, and returned home in 1913. Since that time, B.Z. Shumyatsky occupies a significant place in the party hierarchy, working in underground Bolshevik organizations.
In October 1917 he is elected Chairman of the Central Executive Committee of the Soviets of Siberia.
During the years of the Civil War, B. Shumyatsky performed dangerous tasks in the rear of Kolchak and personally informed Lenin about the state of affairs in this sector of the struggle, fought with the Whites in the 51st division of V. Blucher, and in the summer of 1920. was appointed Chairman of the Council of Ministers of the Far Eastern Republic. He knew M. Uritsky, Y. Sverdlov, S. Kirov, V. Blucher, N. Podvoisky, P. Postyshev, I. Stalin and others well.
His relationship with Stalin was not easy. Shumyatsky was very critical of some of his personal qualities and, knowing about vindictiveness and exorbitant lust for power, he was frankly afraid of Stalin's unpredictable wrath.
As B. Shumyatsky's wife said, the transfer of Boris Zakharovich to Iran was caused by a conflict with Stalin, who, being the People's Commissariat for National Affairs, did not share Shumyatsky's idea of creating Buryat autonomy and was furious when he learned that his political opponent managed to get his way through the Politburo. In those years, Shumyatsky did not attach any importance to these "working" differences. In essence, B. Shumyatsky and I. Stalin until 1925-1926 were equal figures in the Bolshevik Party in importance. The leader, who did not have much sympathy for Shumyatsky, nevertheless did not object to his transfer in November 1930. to the post of head of the All-Union film and photo association "Soyuzkino", reorganized in 1933. to the Main Directorate of the Film and Photo Industry under the Council of People's Commissars of the USSR. Stalin sought to alienate Shumyatsky from work in high party and state authorities. Probably, the leader assumed that the former party worker, far from art, would not hold out in a new leadership role for a long time, especially since the technical base of the cinema of the USSR was very weak at that time. However, B. Shumyatsky, a man without education, but well-read and not indifferent to art, set to work with great zeal and with a firm conviction that all Soviet films should fit into the framework of Marxist ideology. Soviet cinema, from his point of view, is a planned art, cinema is a field of creativity that requires an artistic language accessible to the masses. The success of the film is determined primarily by the "sharp entertaining plot." In his book The Art of Millions, he reinforces his position by referring to the "authoritative judgment" of Stalin, who allegedly told him about the "necessity of an exciting plot." Asserting his artistic demands in the light of party ideology, Shumyatsky easily included in the "sect" of formalists those film workers who preferred the path of search and experimentation. A staunch internationalist, he sharply attacked many Ukrainian films with so-called "national departmental tendencies". In A.Dovzhenko's excellent film "Zvenigora" the head of the State Film and Television Film Festival saw "the cinematographic banner of bourgeois nationalists", "admiration of prosperous rural Ukraine", idealization of the "reactionary" features of its historical past. But he praised such interesting paintings as "Outskirts" by B. Barnet, "Chapaev" by G. and S. Vasilyev, "Merry Fellows" by G. Alexandrov, "Puffy" by M. Romm, "Ragged Shoes" by M. Barskoy, "Three songs about Lenin" by D. Vertov, etc. About "Thunderstorm" by V. Petrov, B. Shumyatsky said, repeating the words of those emotional viewers who need a mandatory happy ending: "I liked the picture, but the end is hard ...".
Shumyatsky organized screenings of films for high authorities and the leader, delivered to the Kremlin for consideration by Stalin himself a thematic plan for the production of films, brought him for approval scripts and screen tests for the most important historical-revolutionary and historical films. Stalin's communication with filmmakers was carried out mainly through the head of the GUKF, who, on behalf of the leader, transmitted his comments, wishes and demands to the directors and screenwriters.
One day in 1934 B. Shumyatsky called director M. Romm and screenwriter I. Prut and said that "one comrade, who exactly - does not matter, would like to see a Soviet film about border guards, made in the spirit of one American film showing a fierce battle in the desert between English soldiers and Arabs. A patrol detachment, lost in the sands, perishes, but fulfills its military duty. It was, of course, a personal order of Stalin, who liked John Ford's film "The Lost Patrol". M. Romm and I. Prut did not see this pictures, but made the film "Thirteen" about the heroic struggle against the Basmachis in the desert.
B. Shumyatsky was very flexible in judging films. Often a situation developed that forced not to express or resolutely change one's opinion about the film after a negative or positive assessment of it by the leader and members of the Politburo. He liked M. Dubson's tape "The Border", but "above" it was considered "erroneous", and Shumyatsky's attitude changed dramatically. "Chapaev" before the official screenings in Moscow was received by Shumyatsky at "Lenfilm" rather reservedly. In private conversations, as a participant in the civil war, he criticized some of the scenes of this tape, seeing, for example, the "unnecessary glorification" of the white officers in the episode of the mental attack of the Kappelites. This episode and the scene with the song "The storm roared, the rain was noisy" he demanded to be removed from the film. After the Kremlin viewing and the success of the film with the audience, Shumyatsky, in full agreement with the leader's point of view, proclaimed the film "Chapaev" as the beacon by which Soviet cinema should be measured.
In the summer of 1933 On the screens of the country there was a film by A. Zarkhi and I. Kheifits "My Motherland", which Shumyatsky liked. Confident in the good fate of the film, the head of the GUKF showed it to Stalin. After viewing, the leader categorically and with a formidable hint said: "This picture ... was made ... by other people's hands!"
A day later, Pravda printed: "The painting" My Motherland "is forbidden as harmful." What made Stalin so angry? In the picture about the military conflict on the CER in 1927. he did not see a powerful army ready for a victorious war in any territory. Shumyatsky did not dare to argue with the leader, calling the tape of Zarkha and Kheyfits harmful. "It's my fault that I missed the picture," he repented in one of his public speeches.
With great internal tension, the head of the GUKF expected in the fall of 1937. completion of work on the film "Lenin in October", realizing that he would have to answer for all the artistic and political miscalculations of the film. He created all the conditions for director M. Romm to ensure that the picture was made in the shortest possible time. B. Shumyatsky often visited the shooting and constantly reminded M. Romm that the artist N. Okhlopkov was not approved for the role of Vasily. Soon he resigned himself to the choice of the director, but for reinsurance, he attached an editor to the film crew, who recorded everything that happened on the set in a special diary.
B. Shumyatsky defended the idea of "direct creative participation of the leadership in the film." Not a single film studio in the USSR had the right to make an independent decision on any significant issue. In his works and speeches, Shumyatsky more than once quoted Stalin's statements about cinema, calling them "the most valuable instructions", "the sharpest weapon", "creative wealth", but this was, of course, dictated not by sincere feeling, but by the perverse concepts that had developed in those days about party discipline. Shumyatsky, as it were, modeled Stalin's reaction to various films and sometimes made mistakes.
The head of the GUKF did not spare the vanity of creative workers, accusing many of them of "rotten liberalism", "petty-bourgeois intelligence", and "objective hostility to Soviet cinema art".
On his initiative, significant changes were made to the content of such films as "The Last Night" by Y. Raizman, "Party Ticket" by I. Pyryev, "Generation of Winners" by V. Stroeva. In The Last Night, the young high school student Kuzma went over to the side of the opponents of the revolution, and in this B. Shumyatsky saw the idea of the breakup of a working-class family, harmful to the film.
Proud, touchy, sometimes very unexpected in his reactions and sharp in his assessments, Shumyatsky did not always reach mutual understanding with the creators.
His relationship with Sergei Eisenstein was especially difficult. The hostility that arose between them was to some extent determined by the cold and wary perception of the director by Stalin himself. Eisenstein was offended not only by Eisenstein's frank denial of his professional competence as the leader of Soviet cinematography, but also by not always correct joking at him. It is known that Shumyatsky's portrait at one time hung in the director's home toilet.
S. Eisenstein, known throughout the world, was a "tough nut" for the head of the GUKF, a man of a complex and incomprehensible intellect, an artist who most of all valued his independence. And Shumyatsky answered him with sharp and often unfair criticism, accusing him of formalism, ignorance of Marxism. Unfortunately, the head of the GUKF played a significant role in the destruction of Eisenstein's film "Bezhin Meadow", attributing to it harmful "formalist exercises", "interest in religious mythology", "amnesty for class enemies", etc. However, he felt Eisenstein's hidden thought: "He began to show the pathos of creating a new collective-farm village as the pathos of spontaneous destruction." At the first All-Union Congress of the Trade Union of Film and Photo Workers, Shumyatsky presented Eisenstein with political accusations that sounded like a denunciation. He called him a "god", who played a prominent role in a certain "bohemian, formalist group where the best films of Soviet cinema were condemned", and Eisenstein himself, who created the "hostile" film "Bezhin Meadow", allegedly called the film "Oncoming" "a red hack" .
However, one cannot perceive B.Z. Shumyatsky one-sidedly, only from the positions of his opponents. Many people, including filmmakers, treated him with deep respect. Quite often, Boris Zakharovich visited Leningrad, where, according to L. Arnshtam, he had good creative relations with the majority of Lenfilm employees, workers, employees, directors A. Zarkhi, I. Kheifits, F. Ermler, L. Trauberg and G. Kozintsev. Kozintsev recalled that the meeting with Shumyatsky became "the impetus for the formation of the concept of a historical-revolutionary film without a pathetic tone." The head of the GUKF willingly and enthusiastically told Kozintsev and Trauberg about life, the daily existence of a professional revolutionary, life in prisons, the work of underground printing houses, etc., and the listeners were struck by the calm irony, the playful form of narration, the clarity of words and thoughts. And this is what helped the directors. Some features of Maxim gradually began to appear in their imagination.
G. Kozintsev left us a surprisingly warm characterization of B. Shumyatsky and even a short description of his appearance: “He was no longer a young man, walking in a warm out-of-season coat, an awkwardly pulled down hat and galoshes. There was something deeply prosaic and ordinary in his whole appearance this smart man, who knew a lot, who was fully endowed with a sense of humor. With a calm irony, he understood all our film affairs. " The head of the GUKF could not protect many employees of his institution from repressions and, apparently in self-defense, publicly condemned them as "spies" and "Trotskyists". But he secretly did not believe in the labels that were generously placed on innocent people. Shumyatsky made friends with a young talented cameraman Vladimir Nielsen, made him a consultant for the GUKF, knowing full well that Nielsen was in Butyrka prison and spent two years in exile. In a letter to V. Nielsen dated August 8, 1936. B. Shumyatsky shared with him his thoughts about the "petty rubbish", careerists penetrating the Soviet cinema and thirsting for government awards. Together with the cameraman, who became an associate professor at VGIK, he wrote a book about US cinema, but it has not yet been published (the manuscript is kept at TsGALI). Director-editor T. Likhacheva, whom the Leningrad NKVD considered a socially dangerous element, B. Shumyatsky arranged for Mosfilm and gave her instructions at the GUKF. According to Likhacheva's firm conviction, Shumyatsky was an active, modest and kind person who was always interested in the working conditions of ordinary film workers at film studios. She recalls that the head of the GUKF did not like to appear in front of the camera and left when photojournalists arrived. T. Likhacheva was repeatedly summoned to some high authorities, trying to get dirt on B. Shumyatsky from her, but she always spoke only the best words about her boss.
According to the memoirs of Ekaterina Borisovna, the daughter of B.Z. Shumyatsky, her father was a complex, often harsh person, who demanded a lot from himself and others.
The smile on his face was a real joy for the whole family. He did not like to tell his family about a difficult childhood, prison, civil war ... At home he spent a lot of time at his desk, absorbed in his cinematic affairs. “Father,” she recalls, “literally liberated himself when colleagues and friends came to his house: cameraman V. Nielsen and his wife, directors V. Weinstock, F. Ermler, G. Aleksandrov, L. Trauberg, G. Kozintsev, screenwriters A. Kapler, I. Prut, employees of the GUKF. Then he spoke a lot and willingly about the need for major changes in Soviet cinema, but emphasized that far from everything depended on him. " Shumyatsky could not stand the exaggerated attention to his person and was a completely non-drinking person. Once he got terribly angry when, having opened a package from Georgia, he found several bottles of dry wine under the top layer of fruit.
One cannot deny the many mistakes and contradictions of B. Shumyatsky, a man who gave the best years of his life to the revolutionary struggle and sincerely devoted to the ideas of Marxism-Leninism. But in general, his activities as head of the All-Union Film and Photo Association, then the GUKF brought considerable benefits to Soviet cinema. Director Yuli Raizman told me: “Like other film directors, I was under fire from the temperamental criticism of the head of the GUKF, but I always saw that Boris Shumyatsky was driven by a great love for cinema, and this was passed on to others. In essence, he devoted all his time to cinema, strove to understand the intentions of the creators of the tape, he was serious about directing. Probably, in the minutes of such conversations with the masters of cinema, it seemed to him that he was also participating in the creation of the film. "
Already within two or three years after Shumyatsky came to the post of head of Soyuzkino, Soviet film production made a noticeable step forward. Defending his positions, B. Shumyatsky sharply attacked "right-wing opportunists", supporters of "bohemian-anarchist sentiments", convinced that "the area of the spirit of creativity" cannot be planned, and forbade replacing the implementation of a specific production plan with unnecessary discussions. He was absolutely right in arguing that a planned system of work in the cinema is impossible without the presence of interesting and literary-full scripts - the artistic basis of future films. That is why Shumyatsky urged to take the playwright's work more seriously, considering scripts "as an independent type of dramaturgy", an original literary work. The head of the GUKF often recommended the scripts he liked to filmmakers and even tried to determine the direction and nature of the director's work on the future tape. In this sense, the unpublished letter of B. Shumyatsky to M. Romm dated September 16, 1934 is of interest. We are talking about the scenario of K. Vinogradskaya "Anka". He's writing:
“I read “Anka” again. It seems to me that if you work a little more on the script, you can make a good film ... The difficulties lie mainly in the selection of an actress. We need a very talented, bright and at the same time soft actress, something like Babanova, only much younger and prettier. Yes, and Pavel should be played by an actor of great feelings and great skill. If there are no actors for these roles, the film may be ruined. Yes, and other roles need real actors. I would like to get your thoughts on the whole range of issues in working on this tape.
B. Shumyatsky did a lot for the painting by G. Kozintsev and L. Trauberg "Youth of Maxim". The directors were inspired by the stories of the head of the GUKF about his revolutionary past. In them they found the necessary tone of the film narrative and some important material for themselves. Working on the script, G. Kozintsev asks B. Shumyatsky in a letter dated April 20, 1933. "to shave into screenwriters Ilf and Petrov." But most of all, he is interested in B. Shumyatsky coming to Leningrad on May 1 - to read the script and watch "a complete rehearsal of all the characters in costumes." Without a doubt, the advice of B. Shumyatsky helped the creators of the future film. March 20, 1934 G. Kozintsev writes to his high friend that all his amendments have been accepted, and literally calls for help in solving difficult prison scenes: "Help us, while nothing comes to mind." Shumyatsky worried about the fate of the film, which went to the screen in a very difficult way. The script for the tape called "Bolshevik" was banned by a high commission, then the film was not accepted by Goskino. However, the head of the GUKF, as director L. Arnshtam told me, emphasized more than once in conversations with friends and colleagues that the film was interesting.
The wife of the cameraman V. Nielsen, I. Penzo, who was present at the conversation between her husband and B. Shumyatsky, recalled: “Boris Zakharovich spoke about the Youth of Maxim with great warmth. people of art, but they don’t understand humor.” It was B. Shumyatsky who took G. Kozintsev and L. Trauberg to the decisive screening in the Kremlin, where the picture was slightly criticized, but received the approval of the leader.
Thanks to Shumyatsky, the comedy "Merry Fellows" appeared on the Soviet screen. The merit of the head of the GUKF is that it was he who proposed to create a comedy based on the performance of the Lenmusik Hall "Music Store", invited Utesov and his jazz to act in a new film, offered to direct the film to director G. Aleksandrov with the help of cameraman V. Nielsen. For a long time, B. Shumyatsky supervised the production of this film comedy, seeing it as his brainchild. Despite the fact that the script of "Jolly Fellows" was called "bourgeois", he managed to put it into production. When the persecution of the already finished picture began by high party officials represented by the head of the department of propaganda and agitation of the Central Committee of the All-Union Communist Party of Bolsheviks A. Stetsky, People's Commissar of Education A. Bubnov, B. Shumyatsky rushed to defend the film. July 28, 1934 he wrote a letter to Stalin himself demanding to curb the party conservatives who ruined a number of good films, to remove the accusation of counter-revolutionary, falsehood, hooliganism from the "Jolly Fellows" and to allow the film to be shown at an international film festival, which he soon achieved. The success of Soviet films at international film festivals in Venice and Moscow is also associated with the name of Shumyatsky. In January 1935 the head of the GUKF managed to organize a festive meeting at the Bolshoi Theater in honor of the 15th anniversary of Soviet cinema. The leader himself with his closest associates honored him with his presence.
As a resolute and enterprising administrator, Shumyatsky achieved that in the USSR they began to produce positive film, created fire-resistant film and designed samples of sound recording equipment that were not bad for that time. He actively supported the cinematographer V. Nielsen, who advocated the introduction into the cinema of one of the most interesting methods of combined filming, which he soon used in Merry Fellows.
Once, the head of the GUKF without hesitation dismissed the leadership of Kinomekhanprom, where a deep technical check of a particular design was replaced by a simple vote. One of the first B. Shumyatsky proposed to train creative youth from the national republics in the Moscow and Kiev GIK and supported the idea of joint productions of republican studios and leading film studios in Moscow and Leningrad. In May 1935 B. Z. Shumyatsky at the head of a group of filmmakers went to Europe and America. After visiting Paris, the head of the GUKF, his consultant cinematographer V. Nielsen, director F. Ermler and the inventor of the Soviet sound film system A. Shorin went to the USA. They spent about two months in America, focusing their attention on the work of Hollywood, met with famous directors F. Capra, L. Milestone, R. Mamulyan, K. Vidor, F. Lang, visited Charlie Chaplin, who showed them all the footage film "New Times". Even before leaving for America, B. Shumyatsky was thinking about serious reforms in Soviet cinema and, above all, about its best technical equipment. In the United States, these thoughts have found concrete content. He was struck by the “color technique” in a number of American films, and he also liked the fact that US filmmakers shoot outdoors in good weather and only move to the pavilion in bad weather, creating continuity in the production process and avoiding expensive and unnecessary expeditions. He was convinced of the need for Soviet cinema to rationalize the entire system of film production, when each creative and technical worker performs precisely defined functions. The delegation from the USSR spent the whole day on the island of St. Catalina, where the location of shooting Hollywood films for any climatic zone was located. Later, repeating some of the thoughts of B. Shumyatsky, V. Nielsen wrote about the need to introduce into Soviet cinema "the latest system of the technological process", "the principles of continuity, assembly line of the entire production complex with the maximum differentiation of labor."
B. Shumyatsky, in essence, was the first to openly advocate "a general reconstruction of Soviet cinema based on the" American experience ". In a letter to V. Nielsen, he agrees with A. Montagu, who sharply criticized the technical backwardness of English film studios, which do not have their own nature and are forced "beg from Hollywood."
G. Kozintsev wrote: "Shumyatsky brought from Hollywood an honest desire to make both a technical and an organizational revolution. The film town was to be built somewhere in the Crimea near the Baidar Gates. We believed in it, dreamed of moving there as soon as possible not only to work, but also to live" .
B. Z. Shumyatsky was sure that with a constant sunny nature, special pavilions, and effective production methods, the four studios of the film city would be able to release 200 films a year. The producer was supposed to be at the head of the five film crews. Soviet Hollywood was supposed to be built in four years (from 1936 to 1940).
The position of B. Shumyatsky and V. Nielsen was supported by well-known American filmmakers - director F. Capra and screenwriter R. Riskin, who came to Moscow in the spring of 1937. F. Capra saw in Soviet paintings "original ideas, realized only half due to technical backwardness." In his opinion, "technique should be ahead of thought - only then can you work quickly and fruitfully."
However, all the innovative aspirations of B. Shumyatsky were met with hostility by the press and government officials, who forgot both about his merits and about the Order of Lenin, which he received in 1935. With their conformist flair, in the heavy atmosphere of the autumn of 1937, they sensed that B. Shumyatsky's position had become almost hopeless. On October 8, according to warrant No. 5965, B. Nielsen was arrested, and four days later, on October 12, 1937, the Kino newspaper accused B. Shumyatsky of considering the opinion of Nielsen's "saboteur" "decisive", sent him to a long foreign business trip, put forward this "arrogant rogue with a criminal record" to a responsible job. This already sounded like a sentence to Shumyatsky himself. The film by M. Barskoy "Father and Son", which he praised, was considered "hostile". Shumyatsky was also blamed for the idea of reconstructing Soviet cinema on the basis of American experience, and the "vicious project" of creating Soviet Hollywood was regarded as "wrecking".
If at first B. Shumyatsky was condemned for bureaucracy, separation from the masses, creating his own cult among filmmakers, then later, in the summer and autumn of 1937, he was already charged with such accusations that were made against "enemies of the people". It turns out that the head of the GUKF engaged in sabotage, warmed up the already exposed Trotskyists in his institution, criminally squandered huge state funds, was guilty of the failure of many films and, above all, that the country's film studios did not fulfill the production plan in 1935 and 1936. The entire critical campaign against Shumyatsky took place under Stalin's personal control. The leader made the old party member, who knew too much and became too independent, a scapegoat, trying to convince millions of people that it was not cruel party censorship or lack of finances that were to blame for the troubles and shortcomings of Soviet cinema, but the wrecking activities of the head of the GUKF and his employees. Stalin was not interested in expanding film production - it could make cinema difficult to manage. The leader could not approve the project of creating Soviet Hollywood, which required 400 million rubles of expenses, which he needed for completely different purposes ...
On the night of January 17-18, 1938, the NKVD raided Shumyatsky's apartment No. 398 in the notorious house on the embankment on the night of January 17-18, 1938, presenting an arrest warrant for the head of the GUKF with the signature of the Deputy People's Commissar of Internal Affairs of the USSR M. Frinovsky. That day the house was already half empty. The search went on almost all night. The Chekists took not only papers, notes, letters, documents related to the activities of B. Shumyatsky. A lot of books, valuables, family heirlooms, for example, a unique Iranian carpet of the Qajar dynasty, a bowl of Genghis Khan (a gift to B. Shumyatsky from Sukhe Bator), a handwritten Koran, Persian miniatures, rare coins, a Schroeder piano, a Ford car, and even a silver badge of the All-Russian Central Executive Committee of the RSFSR No. 85. The inventory of the seized contained 261 items.
In the indictment in Case No. 16946, B. Z. Shumyatsky was named an agent of the tsarist secret police, "a member of the anti-Soviet right-wing Trotskyist organization and the creator of a group of" wrecking and sabotage work to disrupt the Soviet cinema. "In addition, he learned from the prosecution that he had successfully worked in the Japanese and British intelligence, having received large sums of money in gold for the transfer of Japan and England "of the most important state and military secrets." Judging by this completely false accusation, B. Shumyatsky, starting in 1936, "creates a group of terrorists consisting of projectionist Korolev, engineer Molchanov and other saboteurs, carrying out tasks for organizing terrorist attacks against the leaders of the party and government. "The head of the GUKF and imaginary terrorists are credited with poisoning the premises of the viewing cinema in the Kremlin with mercury vapor in order to destroy the leader and members of the Politburo.
The interrogations of the head of the GUKF were very difficult. Within a few months, B. Shumyatsky was broken and "confessed" to all mortal sins. Previously arrested employees of the GUKF V. Zhilin, V. Usievich, Ya. Chuzhin and others testified against him. A specialist in film technology, Professor E. Goldovsky, who was arrested at the same time, recalled a confrontation with B. Shumyatsky: the former head of the GUKF, without looking at him, he confirmed that the professor, who denied his guilt, belonged to a "right-wing Trotskyist organization." "In the protocols of the last interrogations," Boris Lazarevich Shumyatsky, the grandson of Boris Zakharovich, emphasized, "it was clear that my grandfather was drawing out his signature with difficulty, with a helpless hand." July 28, 1938 The Military Collegium of the Supreme Court of the USSR, chaired by the notorious military lawyer V. Ulrich, sentenced B. Shumyatsky to death, with the confiscation of all his property, declaring him guilty on all counts. The sentence was carried out on the same day. And only 18 years later BZ Shumyatsky was rehabilitated.
In subsequent years, his relatives: his wife, who served two years in prison, his daughter and grandson wrote to N. Khrushchev, L. Brezhnev, M. Gorbachev with a request to celebrate the 60th, 90th, centenary of the birth of B.Z. Shumyatsky, give a truthful and serious assessment of his activities in the history of the Soviet state. But appeals to high party authorities did not yield any results. However, in 1986 they received a call from the Central Committee, saying that in order to organize the centenary of the birth of B.Z. Shumyatsky, a decision of the first persons of the state was necessary. B. Shumyatsky's relatives were visited by his old friends F. Ermler, G. Kozintsev, L. Trauberg, V. Weinstock and others.
The activities of B.Z. Shumyatsky in Soviet cinema, for all his mistakes, were still very significant. Yes, he followed the basic instructions of Stalin, but did not treat the leader with the servility that was characteristic of the ignorant Chekist S. Dukelsky, who later took the chair of the director of cinema, and the typical party official I. Bolshakov. B. Shumyatsky is the only one of the three directors of cinematography under Stalin who, for the benefit of the cause, showed his personal initiative and took part in the creative process of creating a number of interesting films of the 30s. Friends called him "People's Commissar of Cinematography". Summoned as a witness in the case of the rehabilitation of B. Shumyatsky, the well-known director, VGIK professor M. Romm, said to the military prosecutor of the GVP: “Shumyatsky was an extremely energetic person, he devoted a huge amount of time and effort to cinematography. Under Shumyatsky, the situation in cinematography was much better than in subsequent years".
The masters of the Soviet screen - Eisenstein, Vertov, Romm and others - could hardly bear the Bolshevik directness of Shumyatsky, willingly slandered him. In the eyes of Stalin and his courtiers, the inferiority of Boris Zakharovich was also beyond doubt: he did not like and could not drink. And you were supposed to know. Try not to drink a glass of vodka for the health of the leader at a government reception - they will not invite you to the next reception, you will fall out of the clip, roll down the career ladder. To the cellars of the Gulag.
The life path of the old Bolshevik Boris Zakharovich Shumyatsky is strange and bizarre: he established Soviet power in Siberia, served as the USSR ambassador to Persia, and since 1930 he received a completely awkward appointment - the chairman of the film and photo department. Until 1933, this body was listed under the department of the People's Commissariat of Light
industry.
At the height of industrialization, the film industry was considered more important and more prestigious than the art of cinema. Therefore, Shumyatsky did not bother much with aesthetics. Under him - especially in the early thirties - films were planted more instructive than fiction; more agitprop than artistic. Poby
Having arrived in the USA, Boris Zakharovich returned, inspired by the idea of "Soviet Hollywood". He even found a place for him - in the Askania Nova reserve. But he didn't get to build it.
The masters of the Soviet screen - Eisenstein, Vertov, Romm and others - hardly endured the Bolshevik directness of Shumyatsky, willingly about him
slandered. In the eyes of Stalin and his courtiers, the inferiority of Boris Zakharovich was also beyond doubt: he did not like and could not drink. And you were supposed to know. Try not to drink a glass of vodka for the health of the leader at a government reception - they won’t invite you to the next reception, you will fall out of the cage, you will go to work
oh the stairs down. To the cellars of the Gulag.
In 1937, on November 7, the premiere of the film "Lenin in October" took place at the Bolshoi Theater. Its director Mikhail Romm recalled how Shumyatsky personally brought boxes of ribbons to the mechanic. To do this, Boris Zakharovich had to crawl on all fours between the chairs - and
Otherwise, he risked blocking the beam of the projector with his body, and the screen image would be eclipsed for a second in Stalin's eyes.
Did not help. The year was 1937, and the arrest of Shumyatsky, followed by execution, went unnoticed. Only the people of the cinema belatedly regretted him: after all, a Chekist sat in Shumyatsky's chair
(now Ulan-Ude), Transbaikal region - July 29, Moscow) - Soviet statesman, participant in the civil war in Siberia, revolutionary, diplomat, journalist. Head of Soviet cinema (1931-1938). Member of the Central Committee of the All-Union Communist Party of Bolsheviks.
Biography
The beginning of the way
Boris Zakharovich's father worked as a bookbinder in St. Petersburg at the publishing house "Tovarishchestvo A.F. Marx" in the early 1880s. When, in connection with the assassination of Alexander II, Petersburg Jews began to be evicted beyond the Pale of Settlement, Zakhar Shumyatsky, like many others, was assigned a rural area somewhere in Belarus or Ukraine. However, he did not agree with this definition and went to the appropriate authorities, where he claimed that he had a city specialty and in the countryside he would not be able to feed his family and he needed a city. "Ah, the city," they said, "we will find you a city." And his family was sent to Transbaikalia to the city of Verkhneudinsk. "You yourself wanted a city, here's a city for you." The Shumyatsky family traveled to a new place of residence for several months. Upon arrival, they were registered as peasants, allocated land, sometimes involved in bookbinding in the services of local authorities.
Boris Shumyatsky was born in Verkhneudinsk and spent the first years of his life in the city. At school, he practically did not study. He often wrote that his education was "at home", but apparently at home he was taught to read and write in Russian, he mastered colloquial Buryat and, it seems, could explain himself in Yiddish.
Since 1898 - a student, and then a worker of the Chita railway workshops. In 1903, Boris Shumyatsky joined the RSDLP. Since 1904, he has been a worker at the Krasnoyarsk railway depot.
Revolution of 1905-1907
Shumyatsky was the editor-in-chief of the newspapers Pribaikalye, Baikalskaya Volna, Zabaikalets (Verkhneudinsk), Voice of Manchuria, Thought (Harbin). The owner of the newspaper "Pribaikalye" Verkhneudinsky merchant Nodelman was arrested in Irkutsk and the newspaper was closed. After leaving prison on bail, Nodelman agreed to publish a new newspaper, Baikal Wave. The newspaper "Zabaykalets", published in Verkhneudinsk on Naberezhnaya Street, was owned by Reifovich. The newspaper was closed in October 1906 and Shumyatsky fled from Verkhneudinsk to Chita on October 18 or 20. In Chita, he began publishing the newspaper Taiga. He was sent to work in the Vladivostok group of the RSDLP, actively participated in the armed uprising of the sailors of the Pacific squadron in Vladivostok.
He married Liya Isaevna Pandra (1889-1957), who took her husband's surname, a student of a medical assistant's school, the daughter of a wealthy merchant from the city of Kansk. In 1909 their daughter Nora was born, followed in 1922 by Ekaterina.
Revolution of 1917
In the period between the revolutions, fleeing the inevitable arrest in 1911-1913, he was in exile in Argentina. Already in Russia, he carried out active revolutionary work in the organizations of the RSDLP (b) in Siberia. Since 1914, it has been published in the central organ of the RSDLP, the newspaper Pravda.
In 1917, Shumyatsky - Deputy Chairman of the Executive Committee of the Krasnoyarsk Council of Workers' and Soldiers' Deputies, an active participant in the publication of the newspapers Izvestia of the Krasnoyarsk Council, Krasnoyarsk Rabochiy, the weekly Sibirskaya Pravda, a delegate to the VII (April) Conference of the Bolsheviks, a participant in the 1st All-Russian Congress Soviets, elected a member of the All-Russian Central Executive Committee, introduced to the editorial board of the Pravda newspaper responsible for organizing the publication.
Conflict with Stalin and transfer to diplomatic work
In 1922, Shumyatsky came into conflict with the Narkomnats and its leader I.V. Stalin on the issue of the autonomy of Buryatia, which had previously received it as part of the Far Eastern Republic. Shumyatsky managed to achieve the creation of an autonomous republic instead of three national districts, but he himself was exiled to an honorable retirement for diplomatic work.
From November 1930 - Chairman of Soyuzkino. Since 1933 - head of the Main Directorate of the film industry and deputy chairman of the Committee for the Arts (since 1935).
Soyuzkino
In 1929, a congress of Soviet filmmakers was held, at which the inconsistency of the management of the industry was revealed and a decision was made to change the leadership of the film and photographic industry. Since November 1930, B. Z. Shumyatsky headed the domestic film industry as chairman of the All-Union Film and Photo Association (“Soyuzkino”). For the reproduction of qualified cinema personnel, he organized on the basis of the film technical school.
GUKF
Since 1933, Shumyatsky - Chairman of the State Directorate of the Film and Photo Industry (GUKF) ("People's Commissariat of Cinema"), then Deputy Chairman of the Committee for Arts under the Council of People's Commissars of the USSR. During the period of Shumyatsky's leadership of the Soviet film industry, the films "Chapaev", "Jolly Fellows", "Maxim's Youth", "Thirteen", "Circus" and many others were created. The success of Soviet films at international film festivals is associated with his name.
Shumyatsky regularly attended film screenings in the Kremlin. He left verbatim records of discussions of films by members of the Politburo and Stalin.
Memory
Streets in Ulan-Ude and Krasnoyarsk are named after Shumyatsky.
The image in the cinema
- - Orlova and Alexandrov (TV series). In the role of B. Z. Shumyatsky - Boris Khvoshnyansky
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Notes
Books and articles
- "Struggle for the Russian Far East", Irkutsk, 1922.
- “In the Siberian underground. Essays 1903-1908", "Moscow Worker", M., 1926, 192 p.
- "Siberia on the way to October", M., 1927, 64 p. (2nd edition: Irkutsk, "Vostochno-Sibirskoe izd.", 1989, 411p.)
- "At the post of Soviet diplomacy", M., 1927, (2nd ed.: "Izd. Eastern Literature", M., 1960).
- "1905 and the East", M.-L., GIZ, 1930, 80 p.
- "Cinematography of millions", "Kinofotoizdat", M., 1935, 387 p.
- "Ways of Mastery", "Kinofotoizdat", M., 1935, 192 p.
Literature
- "Encyclopedic Dictionary of the Russian Bibliographic Institute Granat", v.41, part 111, M. 1925, stb. 254-258.
- Yakushina A.P. "Boris Zakharovich Shumyatsky", "History of the USSR", 1969, No. 2, pp. 118 - 123.
- Bagaev B. F. “Boris Shumyatsky. Essay on life and activity "Krasnoyarsk, 1974, 204 p.
- Taylor R. "Boris Shumyatsky and the Creation of Soviet Cinematography in the 1930s" (from English) Film Studies Notes 1989, no.
- Richard Taylor , "Ideology as Mass Entertainment: Boris Shumyatsky and Soviet Cinema in the 1930s", in Richard Taylor and Ian Christie , (eds.), Inside the Film Factory, Routledge Ltd., 1991.
- Bernstein, Aaron. "People's Commissar of Cinematography", "LECHAIM" August - September, 1997
- Muzalevsky M. "He dreamed of Soviet Hollywood", "Cavalier", No. 7, 2002.
- Mayakovsky. V. Full. coll. op. M., 1957, v.5, p.120.
- Yesenin S. Full. coll. cit., vol. 4, M: "Science" - "Voice", 1996, p. 494.
- Bulgakova E. S. "Diaries", (January 1938).
- Schumatsky, Boris. "Silver bei Stalin", PHILO, Berlin 1999, 180 pp.
- “Kajarov carpet from Shumyatsky’s apartment in the House on the Embankment”, “Our Heritage”, No. 78, 2006.
- Shumyatsky B. L. "Facts and family legends about Boris Zakharovich Shumyatsky (on the occasion of his 120th birthday)" "Cultural space of Eastern Siberia and Mongolia", volume 1, pp. 157 - 164, Ulan-Ude, 2006.
- Shumyatsky B. L. “He was talented in everything - a revolutionary, diplomat, people's commissar of cinema. 120 years since the birth of B. Z. Shumyatsky”, newspaper “Buryatia”, No. 231 (3871), December 8, 2006.
- Simacheva T. A. (author-compiler) "Boris Shumyatsky" (bibliography, documents, materials for a biography), "Kinograf", No. 18 p. 94 - 133, 2007, No. 19, 2008
- Shumyatsky Boris Zakharovich. Film organizer.
- Shumyatsky, Boris. Ogonyok No. 13 of 04/06/2015, p. 36
An excerpt characterizing Shumyatsky, Boris Zakharovich
“Dirty,” said Prince Andrei, grimacing.We'll clean it up for you. - And Timokhin, not yet dressed, ran to clean.
The prince wants.
- Which? Our prince? - voices began to speak, and everyone hurried so that Prince Andrei managed to calm them down. He thought it better to pour himself in the barn.
“Meat, body, chair a canon [cannon fodder]! - he thought, looking at his naked body, and shuddering not so much from the cold, but from disgust and horror, incomprehensible to him, at the sight of this huge number of bodies rinsing in a dirty pond.
On August 7, Prince Bagration wrote the following in his camp at Mikhailovka on the Smolensk road:
“Dear sir, Count Alexei Andreevich.
(He wrote to Arakcheev, but he knew that his letter would be read by the sovereign, and therefore, as far as he was capable of doing so, he considered his every word.)
I think that the Minister has already reported on leaving Smolensk to the enemy. It hurts, sadly, and the whole army is in despair that the most important place was abandoned in vain. I, for my part, asked him personally in the most convincing way, and finally wrote; but nothing agreed with him. I swear to you on my honor that Napoleon was in such a bag as never before, and he could lose half the army, but not take Smolensk. Our troops have fought and are fighting like never before. I held on with 15,000 for over 35 hours and beat them; but he did not want to stay even 14 hours. It's a shame and a stain on our army; and he himself, it seems to me, should not live in the world. If he conveys that the loss is great, it is not true; maybe about 4 thousand, no more, but not even that. At least ten, how to be, war! But the enemy lost the abyss ...
What was it worth to stay two more days? At least they would have left; for they had no water to drink for men and horses. He gave me his word that he would not retreat, but suddenly sent a disposition that he was leaving into the night. Thus, it is impossible to fight, and we can soon bring the enemy to Moscow ...
Rumor has it that you think about the world. To reconcile, God forbid! After all the donations and after such extravagant retreats, put up with it: you will turn the whole of Russia against you, and each of us will make us wear a uniform for shame. If it has already gone like this, we must fight while Russia can and while people are on their feet ...
You have to lead one, not two. Your minister may be good in the ministry; but the general is not only bad, but trashy, and he was given the fate of our entire Fatherland ... I, really, go crazy with annoyance; Forgive me for writing boldly. It can be seen that he does not love the sovereign and wishes the death of all of us who advise to make peace and command the army to the minister. So, I am writing you the truth: prepare the militia. For the minister in the most skillful way leads the guest to the capital. Adjutant Wolzogen is giving the whole army a big suspicion. He, they say, is more Napoleonic than ours, and he advises everything to the minister. I am not only courteous against him, but I obey like a corporal, although older than him. It hurts; but, loving my benefactor and sovereign, I obey. It’s only a pity for the sovereign that he entrusts such a glorious army. Imagine that with our retreat we lost people from fatigue and more than 15 thousand in hospitals; and if they had attacked, it would not have happened. Say for God's sake that our Russia - our mother - will say that we are so afraid and why we give such a good and zealous Fatherland to bastards and instill hatred and shame in every subject. What to be afraid of and who to be afraid of?. It's not my fault that the minister is indecisive, a coward, stupid, slow and everything has bad qualities. The whole army is crying completely and scolding him to death ... "
Among the innumerable subdivisions that can be made in the phenomena of life, one can subdivide them all into those in which the content predominates, others in which the form predominates. Among these, in contrast to rural, zemstvo, provincial, even Moscow life, can be attributed life in St. Petersburg, especially salon life. This life is unchangeable.
Since 1805 we have been reconciling and quarreling with Bonaparte, we have made constitutions and butchered them, and the salon of Anna Pavlovna and the salon of Helene were exactly the same as they had been one seven years, the other five years ago. In the same way, Anna Pavlovna spoke with bewilderment about the successes of Bonaparte and saw, both in his successes and in the indulgence of European sovereigns, a malicious conspiracy, with the sole purpose of unpleasantness and anxiety of that court circle, of which Anna Pavlovna was a representative. In the same way, with Helen, whom Rumyantsev himself honored with his visit and considered a remarkably intelligent woman, just as in 1808, so in 1812, they spoke with enthusiasm about a great nation and a great person and looked with regret at the break with France, which, according to the people who gathered in the salon Helen, should have ended in peace.
Recently, after the arrival of the sovereign from the army, there has been some excitement in these opposing circles in the salons and some demonstrations have been made against each other, but the direction of the circles has remained the same. Only inveterate legitimists from the French were accepted into Anna Pavlovna's circle, and here the patriotic idea was expressed that it was not necessary to go to the French theater and that the maintenance of the troupe cost as much as the maintenance of the whole building. The military events were eagerly followed, and the most beneficial rumors for our army were spread. In Helen's circle, Rumyantsev, French, rumors about the cruelty of the enemy and the war were refuted and all Napoleon's attempts at reconciliation were discussed. In this circle, those who advised too hasty orders to prepare for departure to Kazan court and women's educational institutions, under the auspices of the Empress mother, were reproached. In general, the whole matter of the war was presented in Helen’s salon as empty demonstrations that would very soon end in peace, and the opinion of Bilibin, who was now in St. think they'll solve the problem. In this circle, ironically and very cleverly, although very carefully, they ridiculed the Moscow delight, the news of which arrived with the sovereign in St. Petersburg.
In Anna Pavlovna's circle, on the contrary, they admired these delights and talked about them, as Plutarch says about the ancients. Prince Vasily, who occupied all the same important positions, was the link between the two circles. He went to ma bonne amie [his worthy friend] Anna Pavlovna and went dans le salon diplomatique de ma fille [to his daughter's diplomatic salon] and often, during incessant moving from one camp to another, he got confused and said to Anna Pavlovna that it was necessary to speak with Helen, and vice versa.
Shortly after the arrival of the sovereign, Prince Vasily began talking with Anna Pavlovna about the affairs of the war, cruelly condemning Barclay de Tolly and being indecisive about whom to appoint as commander in chief. One of the guests, known as un homme de beaucoup de merite [a man of great merit], told that he saw Kutuzov, who was now elected head of the St. Petersburg militia, sitting in the state chamber to receive warriors, cautiously expressed the assumption that that Kutuzov would be the person who would satisfy all the requirements.
Anna Pavlovna smiled sadly and noticed that Kutuzov, apart from troubles, had given nothing to the sovereign.
“I spoke and spoke in the Assembly of the Nobility,” interrupted Prince Vasily, “but they did not listen to me. I said that his election to the head of the militia would not please the sovereign. They didn't listen to me.
“It’s all some kind of mania to frond,” he continued. - And before whom? And all because we want to ape stupid Moscow delights, ”said Prince Vasily, confused for a moment and forgetting that Helen had to laugh at Moscow delights, while Anna Pavlovna had to admire them. But he immediately recovered. - Well, is it proper for Count Kutuzov, the oldest general in Russia, to sit in the chamber, et il en restera pour sa peine! [His troubles will be in vain!] Is it possible to appoint a man who cannot sit on horseback, falls asleep at the council, a man of the worst morals! He proved himself well in Bucarest! I'm not talking about his qualities as a general, but is it possible at such a moment to appoint a decrepit and blind person, just blind? The blind general will be good! He doesn't see anything. Play blind man's blind man... sees absolutely nothing!
Nobody objected to this.
On the 24th of July it was absolutely right. But on July 29, Kutuzov was granted the princely dignity. Princely dignity could also mean that they wanted to get rid of him - and therefore the judgment of Prince Vasily continued to be correct, although he was in no hurry to express it now. But on August 8, a committee was assembled from General Field Marshal Saltykov, Arakcheev, Vyazmitinov, Lopukhin and Kochubey to discuss the affairs of the war. The committee decided that the failures were due to differences of command, and, despite the fact that the persons who made up the committee knew the sovereign's dislike for Kutuzov, the committee, after a short meeting, proposed appointing Kutuzov as commander in chief. And on the same day, Kutuzov was appointed plenipotentiary commander of the armies and the entire region occupied by the troops.
On August 9, Prince Vasily met again at Anna Pavlovna's with l "homme de beaucoup de merite [a person of great dignity]. L" homme de beaucoup de merite courted Anna Pavlovna on the occasion of the desire to appoint Empress Maria Feodorovna as a trustee of the women's educational institution. Prince Vasily entered the room with the air of a happy winner, a man who had achieved the goal of his desires.
– Eh bien, vous savez la grande nouvelle? Le prince Koutouzoff est marechal. [Well s, you know the great news? Kutuzov - field marshal.] All disagreements are over. I'm so happy, so glad! - said Prince Vasily. – Enfin voila un homme, [Finally, this is a man.] – he said, significantly and sternly looking around at everyone in the living room. L "homme de beaucoup de merite, despite his desire to get a place, could not help but remind Prince Vasily of his previous judgment. (This was impolite both in front of Prince Vasily in Anna Pavlovna's drawing room, and in front of Anna Pavlovna, who was just as joyfully received the news; but he could not resist.)
- Mais on dit qu "il est aveugle, mon prince? [But they say he is blind?] - he said, reminding Prince Vasily of his own words.
- Allez donc, il y voit assez, [Eh, nonsense, he sees enough, believe me.] - said Prince Vasily in his bassy, quick voice with a cough, that voice and cough with which he resolved all difficulties. “Allez, il y voit assez,” he repeated. “And what I am glad about,” he continued, “is that the sovereign has given him complete power over all the armies, over the entire region, power that no commander in chief has ever had. This is another autocrat,” he concluded with a victorious smile.
“God forbid, God forbid,” said Anna Pavlovna. L "homme de beaucoup de merite, still new to court society, wishing to flatter Anna Pavlovna, shielding her former opinion from this judgment, said.
- They say that the sovereign reluctantly transferred this power to Kutuzov. On dit qu "il rougit comme une demoiselle a laquelle on lirait Joconde, en lui disant: "Le souverain et la patrie vous decernent cet honneur." [They say that he blushed like a young lady who would have read Joconde, while told him: "The sovereign and the fatherland reward you with this honor."]
- Peut etre que la c?ur n "etait pas de la partie, [Maybe the heart did not quite participate,] - said Anna Pavlovna.
“Oh no, no,” Prince Vasily interceded fervently. Now he could not give in to Kutuzov to anyone. According to Prince Vasily, not only Kutuzov was good himself, but everyone adored him. “No, it cannot be, because the sovereign was so able to appreciate him before,” he said.
“God only grant that Prince Kutuzov,” said Anpa Pavlovna, “takes real power and does not allow anyone to put spokes in his wheels—des batons dans les roues.
Prince Vasily immediately realized who this nobody was. He whispered:
- I know for sure that Kutuzov, as an indispensable condition, said that the heir to the Tsarevich should not be with the army: Vous savez ce qu "il a dit a l" Empereur? [Do you know what he said to the sovereign?] - And Prince Vasily repeated the words, as if said by Kutuzov to the sovereign: “I cannot punish him if he does badly, and reward him if he does well.” O! this is the smartest man, Prince Kutuzov, et quel caractere. Oh je le connais de longue date. [and what character. Oh, I've known him for a long time.]
“They even say,” said l “homme de beaucoup de merite, who still did not have court tact, “that the most illustrious made it an indispensable condition that the sovereign himself did not come to the army.
As soon as he said this, in an instant Prince Vasily and Anna Pavlovna turned away from him and sadly, with a sigh at his naivety, looked at each other.
While this was happening in Petersburg, the French had already passed Smolensk and were moving closer and closer to Moscow. The historian of Napoleon Thiers, like other historians of Napoleon, says, trying to justify his hero, that Napoleon was unwittingly drawn to the walls of Moscow. He is right, as are all historians who seek an explanation of historical events in the will of one person; he is just as right as the Russian historians who assert that Napoleon was attracted to Moscow by the skill of the Russian generals. Here, in addition to the law of retrospectiveness (recurrence), which represents everything that has passed as a preparation for an accomplished fact, there is also reciprocity, which confuses the whole thing. A good player who loses at chess is sincerely convinced that his loss was due to his mistake, and he looks for this mistake at the beginning of his game, but forgets that in his every step, throughout the whole game, there were such mistakes that no one his move was not perfect. The error to which he draws attention is noticeable to him only because the enemy took advantage of it. How much more complicated than this is the game of war, taking place under certain conditions of time, and where not only the will directs lifeless machines, but where everything springs from the innumerable clash of different arbitrariness?
After Smolensk, Napoleon was looking for battles for Dorogobuzh at Vyazma, then at Tsarev Zaimishch; but it turned out that due to the innumerable clash of circumstances to Borodino, a hundred and twenty miles from Moscow, the Russians could not accept the battle. From Vyazma, an order was made by Napoleon to move directly to Moscow.
Moscou, la capitale asiatique de ce grand empire, la ville sacree des peuples d "Alexandre, Moscou avec ses innombrables eglises en forme de pagodes chinoises! [Moscow, the Asian capital of this great empire, the sacred city of the peoples of Alexander, Moscow with its countless churches, in the form of Chinese pagodas!] This Moscou haunted Napoleon's imagination.On the passage from Vyazma to Tsarev Zaimishch, Napoleon rode on his solo anglized pacer, accompanied by guards, guards, pages and adjutants. Berthier, the chief of staff, fell behind in order to interrogate what was taken by the cavalry Russian prisoner He galloped, accompanied by the translator Lelorgne d "Ideville, caught up with Napoleon and with a cheerful face stopped the horse.
– Eh bien? [Well?] said Napoleon.
- Un cosaque de Platow [Platov Cossack.] says that Platov's corps is connected with a large army, that Kutuzov has been appointed commander in chief. Tres intelligent et bavard! [Very smart and chatterbox!]
Napoleon smiled, ordered to give this Cossack a horse and bring him to him. He himself wanted to talk to him. Several adjutants galloped off, and an hour later the serf Denisov, who had been ceded to Rostov by him, Lavrushka, in a batman's jacket on a French cavalry saddle, with a roguish and drunken, cheerful face, rode up to Napoleon. Napoleon ordered him to ride beside him and began to ask:
- Are you a Cossack?
- Cossack, your honor.
"Le cosaque ignorant la compagnie dans laquelle il se trouvait, car la simplicite de Napoleon n" avait rien qui put reveler a une imagination orientale la presence d "un souverain, s" entretint avec la plus extreme familiarite des affaires de la guerre actuelle " , [The Cossack, not knowing the society in which he was, because the simplicity of Napoleon had nothing that could open the presence of the sovereign to the Eastern imagination, spoke with extreme familiarity about the circumstances of this war.] - says Thiers, telling this episode Indeed, Lavrushka, who got drunk and left the master without lunch, was flogged the day before and sent to the village for chickens, where he became interested in looting and was taken prisoner by the French. duty to do everything with meanness and cunning, who are ready to do any service to their master and who cunningly guess the master's bad thoughts, especially vanity and pettiness.
On November 8, 1917, the People's Commissariat for Education of the RSFSR was established. All questions of culture, art, cultural and patriotic education of the masses were transferred to his jurisdiction. The first people's commissar of education (November 8, 1917 - September 1929) - publicist, historian of arts and literature, prominent politician and builder of Soviet culture - Lunacharsky Anatoly Vasilyevich (1875-1933). The second People's Commissar (September 1929 - October 1937) - statesman and party leader, member of the All-Russian Central Executive Committee and the Central Executive Committee of the USSR Andrei Sergeevich Bubnov.
The main goal of the state cultural policy is that the people become the sole owner and consumer of all cultural values. A state network of cultural and educational institutions was created. The People's Commissariat for Education of the RSFSR included collegiums and departments, and since 1929, the main departments by industry. Lunacharsky A.V., Pokrovsky M.N., Krupskaya N.K., Bubnov A.S., Makarenko A.S., Lepeshinsky P.K. were members of the Collegium of the People’s Commissariat for Education. On November 12, 1920, the Glavpolitprosvet was created, which was part of the People's Commissariat for Education. Chairman - Krupskaya N.K., Deputy Chairman - Maksimovsky, members of the collegium Mikhailov (from the Central Committee of the Russian Communist Party), Gusev (PUR), Isaev (All-Union Central Council of Trade Unions). Glavpolitprosvet included departments: library, art, national minorities, proletarian culture, museums and monument protection, history and defense, photography and films, etc. Glavpolitprosvet organized clubs, houses of culture, reading huts. He created the House of Theater Education. V.D. Polenov.
In the Narkompros, the theater department was headed by Meyerhold V.E., the literary department - Lunacharsky A.V., then - Bryusov V.Ya., Serafimovich A.M., the film department - Leshchenko D.I., the music department - Bryusova N.Ya. . At the theatrical department there was a section of circuses: the chairman of the section was Rukavishnikov G.S., the section included Erenburg I.G., sculptor Konenkov S.T. Under the People's Commissariat of Education, Glavnauka operated, which was engaged in the development of the local history movement and cultural work in educational institutions.
The People's Commissariat of Education had an Academic Center, which included scientific and artistic sections, with five subsections: literary, theatrical, musical, fine arts and cinematography. Blok A.A., Gorky A.M., Mayakovsky V.V., Grabar I.E., Benois A.I., Ivanov V., Bely A., Andreeva M.F., Fedin K.A. and others. Many of them worked in the apparatus of the People's Commissariat for Education. The People's Commissariat of Education was engaged in state leadership of the entire complex of cultural issues and the content of cultural work. The People's Commissariat of Education did a great job in attracting the intelligentsia to its side, a significant part of which took a wait-and-see attitude, behaved passively, at the same time, to the extent possible, worked in the cultural field. There was an outflow of intelligentsia from Moscow and St. Petersburg to the south of Russia, mainly for material reasons. An important role in the process of "reconciliation" between the intelligentsia and the authorities was played by the All-Russian Union of Art Workers (VSERABIS), created on May 7, 1919. By 1923, the trade union had 70 thousand members (95% of all art workers). At different times, the leaders of the trade union were Kachalov M.M., Pudovkin V.I., Tairov A.V., Pashennaya A.N., Dovzhenko A.P. In general, literary and artistic life was distinguished by the diversity and abundance of various creative groups and movements, there was the possibility of an alternative dialogue of cultures, dissent.
Many outstanding works appeared in various fields of culture (theater, literature, painting).
From the beginning of the 30s. strengthened the policy of strict regulation. On April 23, 1932, the Central Committee of the All-Union Communist Party of Bolsheviks adopted a resolution “On the restructuring of literary and artistic organizations”. Numerous groups and associations of masters of literature and art were liquidated. In their place, creative unions were created. In 1932 unions of composers, architects and artists were created; in 1934 - writers. An important event in the cultural life of the country was the adoption of the Decree of the Central Executive Committee of the USSR of December 16, 1935 on the establishment of a committee to hold events dedicated to the 100th anniversary of the death of A.S. Pushkin. Building its state policy in the field of culture, the young state acted taking into account two important circumstances left as a legacy from Tsarist Russia. On the one hand, the great achievements and the noblest traditions of Russian culture that developed in the 18th-19th centuries and at the beginning of the 20th century, on the other hand, ¾ of the illiterate adult population. In 1914, only about 5.5 million people studied on the territory of the RSFSR. About 85 thousand students studied in 75 higher educational institutions. Only 237 clubs were active. There were 29 books per 100 readers, 48 nationalities did not have their own written language. The most important task of cultural development was the radical restructuring of the former system of education, the elimination of illiteracy of the population, which is the basis of culture. All the means of culture became available to the workers and peasants. The people became the sole owner and consumer of cultural values, a network of cultural institutions, clubs, libraries, museums, theaters was actively created and developed ... Culturologists, artists and educators, including the West, noted the early Soviet experience in regulating culture as one of the brightest , original and effective. All-Union Committee for Arts under the Council of People's Commissars of the USSR.
January 1936 - March 1953
By Decree of the Council of People's Commissars of the USSR No. 36 of January 17, 1936, the All-Union Committee for Arts under the Council of People's Commissars of the USSR was formed. The Committee was created "In connection with the growth of the cultural level of the working people and the need to better meet the needs of the population in the field of arts, and in order to unite leadership in the development of arts in the USSR." The committee had the rights of a People's Commissariat and was a union-republican body. In the structure of the committee there were 6 Main Directorates: theaters, musical institutions, fine arts, circuses, control over the repertoire and spectacles, educational institutions, departments of architecture, amateur arts, economic and financial divisions. Under the committee, there were: a special purpose faculty (FON) for advanced training of leading personnel, a higher attestation commission, a commission for considering applications for the appointment of personal pensions for artists. Elected methodological commissions were created at each department. Also, under the management of fine arts, there was a state commission for the purchase of works of fine arts and a distribution commission for works of art in museums. Directly subordinate to the committee were: the All-Union Academy of Architecture in Moscow and the Academy of Arts in Leningrad; United Publishing House "Iskusstvo" on issues of theater, cinema, architecture; music publishing house "Music". The committee included the editors of the newspaper "Soviet Art". The Committee controlled all creative unions and the Literary Fund. The staff of the Committee: in 1936 - 226 people, in 1939 - 516 people, in 1940 - 671 people. Committee chairmen: Platon Mikhailovich Kerzhentsev (07/17/1936-01/15/1938), Alexei Ivanovich Nazarov (01/19/1938-07/1939), Mikhail Borisovich Khrapchenko (04/01/1939 - 01/25/1948), Polikarp Ivanovich Lebedev ( 4.02.1948-24.04.1951), Bespalov Nikolai Nikolaevich (24.04.1951-15.03.1953). From 04/01/1939 to 01/25/1948, Khrapchenko M.B., a prominent figure in literature and art, researcher and critic, member VKP(B) since 1928, since 1967 - Academician of the Academy of Sciences of the USSR, in 1960-1980. supervised philological science, Hero of Socialist Labor. The vice-chairmen of the committee in different years were: Boyarsky Ya.I., Shumyatsky B.Z., Chuzhin Ya.E., Ryabichev N.N., Markelov I.E. The heads of the main departments in different years were: Edelson Z.A. (Fine), Shapovalov L.E. (GUUZ), Solodovnikov A.V., Surin E.A. (theatres), Shatilov S. S., Oreud O.N. (music), Ganetsky Ya.S., Morozov E.S. (circus), Vasilevsky V.I., Vdovichenko V.G., Dobrynin M.K. (Department for control over the repertoire), Eliseev V.T., Tregubenkov F.A. (department of capital construction), Tolmachev G.G., Shivarikov V.A. (architectural department). Under the chairman of the committee, there was an artistic council, consisting of three sections: theater and drama, music, fine arts. The artistic council included 19 prominent artists, including: Nemirovich-Danchenko V.I., Khorava A.A., Tolstoy A.N., Pogodin N.F., Samosud S.A., Dunaevsky I.O. ., Glier R.M., Mukhina V.I., Grabar I.E. Outstanding artists were involved in the consulting and methodological commissions at the main departments: Brodsky I.I., Grabar I.E., Gerasimov A.M., Yuon K.F., Ioganson B.V., Favorsky V.A., Freiberg P.V., Rodionov M.S., Manizer M.G., Domogatsky V.N., Mukhina V.I., Moskvin I.N., Shchukin B.V., Mikhoels S.M., Zakhava B. E., Simonov N.K., Pashennaya V.N., Neugauz G.G., Sveshnikov A.V., Myaskovsky N.Ya., Shostakovich D.D., Glier R.M. and others, totaling over 80 people. The role of the arts committee is great in mobilizing cultural and artistic figures, the entire people for victory during the Great Patriotic War, in organizing the evacuation of cultural property to the eastern regions of the country, in restoring the network of cultural and art institutions, the entire national economy in the post-war period. The Committee, together with the creative unions and the Central Committee of the trade union, assumed the centralized leadership of the military patronage work during the war years. 45 thousand creative workers participated in the artistic service of the fronts. They gave 1,350,000 concerts at the front and in the frontline. During the war years, 3952 artistic brigades performed. There were over 1000 writers and poets at the fronts, 419 of them died. There were 900 artists in the active army. In total, during the war years, about 5 million meters of film were shot, which became an invaluable historical document. The creative intelligentsia occupied leading positions in the life of the country. During the war years, only in the RSFSR, fascist troops destroyed 4 thousand libraries, more than 2 million copies perished in them. books. Destroyed 8 thousand clubs, 117 museums. By 1947, the network of cultural and educational institutions reached the pre-war level. In 1945, the Committee for Arts under the Council of People's Commissars of the RSFSR was created. Chairman of the committee from 1945 to 1953 - Budaev Sergey Alexandrovich. Deputy Chairmen - Malyshev Yury Vladimirovich, Glina Aleksey Georgievich, Shiryaev Kirill Ivanovich. Head of the theater department - Efremov Viktor Pavlovich, head of the department of fine arts - Kalashnev Filipp Vasilievich, head of the department of educational institutions - Shchepalin Gleb Alekseevich. On February 6, 1945, the Committee for Cultural and Educational Institutions under the Council of People's Commissars of the RSFSR was established. The chairmen of the committee from 1945 to 1949 - Zueva Tatyana Mikhailovna, from 1949 to 1953 - Leontyeva E.I. The committee included: library management, management of club institutions, department of educational institutions and centralized accounting. In the difficult pre-war, war and post-war times in the USSR, the state department of culture, although it was somewhat fragmented, nevertheless, a huge amount of work was carried out, which ensured the mobilization of the country's creative forces for the successful solution of state tasks.
Ministry of Culture of the USSR. March 1953 - February 1992
March 15, 1953 The Ministry of Culture of the USSR was created. On June 20, 1953, the Council of Ministers of the USSR approved the regulation on the Ministry. It also absorbed the functions of the liquidated Ministries of Higher Education of the USSR, Labor Reserves of the USSR, Cinematography of the USSR, the Committee for Arts under the Council of Ministers of the USSR, the Radio Committee under the Council of People's Commissars of the RSFSR, the Main Directorate for Printing Industry, Publishing and Book Trade under the Council of People's Commissars of the USSR. From March 15, 1953 to May 4, 1960, three Ministers of Culture of the USSR were replaced. The ministers of culture of the USSR were Ponomarenko Panteleimon Kondratievich (03/15/1953-03/09/1954) and Alexandrov Georgy Fedorovich (03/21/1954 - 03/10/1955). For 5 years, the Minister of Culture of the USSR was Nikolai Aleksandrovich Mikhailov (03/21/1955-05/04/1960), in 1938-1952. First Secretary of the Central Committee of the Komsomol, Member of the Central Committee of the CPSU, Deputy of the Supreme Soviet of the USSR of five convocations, from 1952-1954. - Secretary of the Central Committee of the CPSU, First Secretary of the MK CPSU. An attempt to concentrate in one Ministry of leadership of the entire culture was unsuccessful. Gradually, over the course of 4-5 years, the USSR Ministry of Culture retained the general leadership of all types of arts and the direct management of the largest cultural institutions of all-Union significance. The Ministry supervised the activities of creative unions. The Ministry established the Main Directorates: theaters, musical institutions, film production with departments of cinematography and film distribution, economic, circuses, the Collegium for External Cultural Relations, the Directorate of Fine Arts Institutions with the State Inspectorate for the Protection of Monuments and the Department of Fine Arts, the Directorate of Personnel and Educational Institutions , Planning and Financial Department, Department of Cultural and Educational Institutions, Main Library Inspectorate, First Department and Office. The structure was partially changed, but on the whole remained in line with the main activities of the Ministry. The cultural policy in the country was determined by the decisions of the congresses and plenums, the Central Committee of the CPSU and the directives of the five-year plans. The Ministry of Culture concentrated its main efforts on the implementation of the decisions adopted by the XX Congress in 1956 and the XXI Congress in 1959 and the decisions of the plenums of the Central Committee of the CPSU (September 1953, March 1954, February 1957). In the system of the Ministry of Culture of the USSR in 1953-1959. more than 400 theaters worked, giving performances in 35 languages of the peoples of the USSR. The theaters put on annually from 1700 to 3500 new productions and in total there were over 200 thousand performances, which were annually visited by 75-80 million people. spectators. Outstanding actors performed in the performances: Abrikosov A.L., Astangov M.F., Gribov A.N., Dobzhanskaya L.I., Ilyinsky I.V., Molchanov P.S., Maretskaya V.S., Plyatt R. .Ya., Tolubev Yu.V., and others. Significant success was achieved by theater directors: Vivien L.S., Zavadsky Yu.A., Okhlopkov N.P., Popov A.D., Simonov K.M., Ravenskikh B.I., Pluchek V.N., Tovstonogov G.A., Simonov E.R. Musical life during these years became more diverse, contacts with foreign countries were growing stronger, outstanding composers Shostakovich D.D., Sviridov G.V., novice composers Eshpay A.Ya., Schnittke A.G., Shchedrin R.K. and others. Mass song genres and film music developed successfully. There were 53 musical theaters in the USSR, including 32 opera and ballet theatres, 24 musical comedies, 34 symphony orchestras, 12 folk instrument orchestras, 41 choirs, 32 song and dance ensembles. There were 108 republican, regional and city philharmonic societies, 17 concert and variety bureaus, and the State Concert Association of the USSR. In addition, the system of all-Union and republican radio included 12 symphony orchestras, 10 orchestras and ensembles of folk instruments, 12 choirs. The Union of Composers of the USSR united more than 1200 members, including 940 composers and more than 240 musicologists. Of the 150 operas on the stages of opera houses, 82 operas belonged to Soviet composers. The development of artistic painting in the USSR was distinguished by great intensity and diversity. The Union of Artists united over 8.5 thousand figures of fine arts. The network of art and art-historical museums of the USSR MK system consisted of 96 units. About 400 art exhibitions of various levels were held annually in the USSR. The Ministry of Culture of the USSR was in charge of circus art. In 1947, the Central Studio of Circus Art was established in Moscow, later reorganized into the All-Union Directorate for the Training of Circus Artists. There is a noticeable expansion of the network of circuses. More than 40 circuses have been built. The Ministry of Culture of the USSR developed regulations, charters, instructions and standards for cultural institutions - libraries, clubs, museums. It had great powers to coordinate the activities of cultural and educational institutions of other departments. There were 120,000 clubs, more than 500 parks of culture and recreation, more than 400,000 amateur art groups, uniting over 5 million participants, operating in the system of the Ministry. Methodological guidance was provided by the All-Union House of Folk Art named after N. K. Krupskaya, which was under the jurisdiction of the Ministry of Culture of the USSR until 1958
The Ministry supervised all libraries. This task was carried out by the Main Library Inspectorate of the Ministry and the State Library. IN AND. Lenin. Much attention was paid to the opening and construction of libraries in the areas of development of virgin lands: for 1954-1955. 2.5 thousand libraries and 1300 reading rooms were opened. Every year the country's book fund increased by 1.8 billion copies. Over 7 copies for each citizen of the USSR. Under the direct jurisdiction of the Ministry were 8 museums of all-Union significance: the State Hermitage, the State Museum of Fine Arts. A.S. Pushkin, the State Tretyakov Gallery, etc. The network of art, literary, historical, biographical and memorial museums expanded significantly. Ministry of Culture of the USSR in the 60s - the 1st half of the 70s. 20th century Minister of Culture Furtseva Ekaterina Alekseevna.
From May 4, 1960 to October 24, 1974, the Minister of Culture was Ekaterina Alekseevna Furtseva, a member of the CPSU since 1938, since 1942 the second and first secretary of the Frunzensky district of Moscow, since 1950 - the second secretary, since 1954 from 1957 to 1957 - First Secretary of the Moscow Civil Code of the CPSU, from 1956 - candidate member of the Presidium of the CPSU Central Committee and Secretary of the CPSU Central Committee, from 1957 to 1961 - member of the Presidium of the CPSU Central Committee. For many years he was a deputy of the Supreme Soviet of the USSR. Despite the existing difficulties and contradictions in the state cultural policy, the Ministry of Culture of the USSR in these years vigorously improved the forms and methods of managing cultural construction. In March 1963, the State Committee for Cinematography separated from the Ministry of Culture, and in August 1963, the State Committee for Press was separated. The main efforts of the Ministry were directed to the implementation of the decisions of the XXII, XXIII, XXIV Congresses of the CPSU and the 7,8,9 five-year plans in the field of cultural construction. The Ministry had 11 departments. The management apparatus consisted of about 400 employees. The composition of employees was stable, they worked for 10-15 years or more. Deputy Ministers were Vladykin Grigory Ivanovich, Popov Vladimir Ivanovich, Kukharsky Vasily Feodosevich, Mokhov Nikolay Ivanovich. Theater Department - Head Ivanov Georgy Aleksandrovich, deputies: Korshunov V.I., Kudryavtsev V.A., Sinyavskaya L.P. The management included: repertoire and editorial board (editor-in-chief Goldobin V.Ya.); department for control over the current repertoire (headed by N.V. Shumov); organizational and production department (head Kudryavtsev V.A.). Malashenko V.I., Medvedeva M.Ya., Tsirnyuk V.A., Nazarov V.N., Kochetkova N.V., Shumov N.V., Zhukov Yu.A. and others. Department of Musical Institutions - Head Vartanyan Zaven Gevonrovich, deputies: Mironov S.A., Lushin S.A., editor Sakva K.K. The department included: the department of musical theaters (chief Zhuravlenko I.S. and 46 senior inspectors); department of concert organizations (headed by VN Kovalev and 6 senior inspectors). Department of Fine Arts and Protection of Monuments - Head Timoshin Georgy Alekseevich, deputies: Khalturin A.G., Nemtsov N.G. The management included: artistic and expert board (editor-in-chief Darsky E.N.); department for the protection of monuments, art museums and exhibitions (head Nemirovnik G., deputy Vertogradova M.A. and 8 state inspectors); department of monumental and decorative-applied art (head Bezobrazova T. M. and 4 senior inspectors). Department of cultural and educational institutions - head Danilova Lidia Alekseevna, deputies Lyutikov L.N., Gavrilenko A.Ya.). The department included: the department of cultural education and folk art (head Gavrilenko A.D., inspectors-methodologists Filipchenko N.G., Dementman A.M., Maslin I.I., Kharlamov P.P.); department of museums (head Antonenko Inna Alexandrovna and 5 inspectors and instructors); Main Library Inspectorate (Head Serov Valentin Vasilyevich, Deputy Efimova A.I. and 5 inspectors).
Department of Personnel, Educational Institutions - (Head Ilyina Lidia Grigoryevna, Deputy Heads of the Department A.F. Soptesov and V.N. Minin). The management included: department of management personnel; the department of scientific institutions and educational institutions, the department for working with foreign students and the department for planning and distribution of young professionals. Department of External Relations - Head Kalinin Nikolai Sergeevich, deputies Supagin A.L. and Kuzin Yu.A.). The management included b departments and about 40 employees. Department of Capital Construction and New Equipment - Head Surov I.P.
Planning and production and technical departments.
Logistics department.
Economic management.
In the Ministry, as a district committee of the CPSU, the Party Committee (secretary Tsukanov M.P.) and the local trade union committee (chairman Mikhailov A.N.) operated. The Ministry was in charge of a number of all-Union organizations: the All-Union Association of State Circuses (manager Bardian F.G.), the State Concert of the USSR (director Aleshchenko N.M.), Soyuzconcert (director Konnova P.N.), the record company Melodiya, the All-Union Studio records, the Institute of Art History (Krulikov V.S.), Soyuzteaprom, Teomontazh, State Institute for the Design of Theater and Entertainment Enterprises (Giprotektsion), Soyuzattraction. A multi-faceted, multi-genre and multinational theater developed steadily. In the USSR in 1970, there were 538 theaters, incl. drama - 327, opera and ballet - 40, musical comedy - 26, young spectator - 35, puppet - 100. By 1975, the number of theaters increased by 30, and the number of performances reached 272 29, theater occupancy 75.5%. The theater on Taganka, the Moscow Art Theater (on Tverskoy Boulevard), the Children's Musical Theater under the direction of Natalia Sats, the Sovremennik Theater, the Circus on Vernadsky Avenue, etc. were built and received new buildings. Every year, dozens of new plays were published at the expense of the Ministry and distributed to the theaters of the country . During these years, new plays by Arbuzov A.N., Aksenov V.P., Rozov V.S., Roshchin M.M., Zorina L.G., Shatrov M.F., Panova V.F., Volodin A. .M., Vampilova A.V., Ibragimbekova R., Dvoretsky I.M., Drutse I.P., Salynsky A.D., Shtok I.V., Pogodina N.F., Kataeva V.P., Stavskogo E.S., Makayonka A.E., Ashkinazi L.A., Khmelik A.G., Polevoi B.N. other. The repertoire of the theaters was widely represented by Russian and Soviet prose based on the works of prominent writers of that time, as well as foreign classics. Much attention Furtseva E.A. devoted to the Moscow Art Theater, where outstanding actors worked. Efremov O.N. became the main director of the Moscow Art Theater. Successfully developed musical life in the country. The main hallmark of musical art throughout the world was the Bolshoi Opera and Ballet Theatre. The theater was experiencing a "golden age". Outstanding singers, ballet masters, directors, conductors worked in it. The theater played the music of the outstanding composers Borodin A.P., Mussorgsky M.P., Tchaikovsky P.I., the operas Ivan Susanin, Prince Igor, Khovanshchina, Carmen Suite, The Nutcracker, ballet "Swan Lake". During these years, there were 80 ballet companies in the country, a younger generation of performers took to the stage, a whole galaxy of outstanding choreographers came to the fore. In 1966 in Moscow Moiseev I.A. organized a young choreographic concert ensemble. In the 60s. in the USSR there were 20 folk dance ensembles. A large group of outstanding Soviet composers entered an active musical life. 60-70s - years of successful development of fine arts. Many artists continued to create an artistic chronicle of the Great Patriotic War. The construction of original, expressive sculptures, monuments, ensembles of monumental works was widely developed throughout the country. Many dozens of all-Union and republican exhibitions were held. In 1936, at the congress of the Union of Artists, Gerasimov S.V. was elected the first secretary. The Union of Artists had 7,000 members and 2,000 candidates. There were 108 state art museums in the country, 120 collective farm and state farm art galleries with a fund of about 9 thousand works of art. The Ministry was in charge of the All-Union Association of State Circuses (State Circus). There were 50 stationary and 14 traveling circuses in the country. More than 6 thousand artists worked in circuses. The Ministry attached great importance to the development of cultural and educational institutions, libraries, clubs, museums, parks of culture and recreation. In the 70s. library work began to be centralized. In total, there were 350,000 libraries of various departments in the USSR, more than 150,000 public libraries were under the Ministry. By the end of the 60s. in the USSR there were more than 130 thousand clubs, in them, together with trade union clubs, there were 762 amateur art groups, and 800 folk theaters operated. The network of museums in the USSR grew from 400 in 1960 to 1259 in 1974.
The output of specialists with higher education increased three times: from 2.5 thousand in 1960 to 7.7 thousand in 1974.
The Ministry paid priority attention to questions of national cultural policy in the union republics. These years were the heyday of the culture of the Union republics. The Ministry paid primary attention to the issues of international cultural relations. In 1974, the USSR maintained cultural ties with more than 70 countries on the basis of government agreements and plans. Over 20,000 Soviet artists and cultural figures traveled abroad during the year. Through the Ministry, 138 artistic groups and 30 artistic groups, about 340 soloists traveled to foreign countries. 130 foreign bands performed in the USSR. "Soyuzconcert" in 1974 held 26374 concerts, performances and other performances.
Ministry of Culture of the USSR in the 2nd half of the 70s - the 1st half of the 80s. Minister of Culture Demichev Petr Nilovich.
On November 14, 1974, Pyotr Nikolaevich Demichev was appointed Minister of Culture of the USSR. Worked until June 18, 1986, born in 1918, candidate member of the Politburo of the Central Committee of the CPSU. Graduated from the Moscow Institute of Chemical Technology. In 1937-1944. served in the Red Army, a participant in two wars. He was the first secretary of the Moscow Civil Code of the CPSU and the secretary of the Central Committee of the CPSU. In the leadership of the Ministry in different years were: First Deputy Minister - Barabash Yuri Yakovlevich, Deputy Ministers: Chekharin Evgeny Mikhailovich, Golubtseva Tamara Vasilievna, Kukharsky Vasily Feodosevich, Zaitsev Evgeny Vladimirovich, Shabanov Petr Ilyich, Kruglova Zinaida Mikhailovna. The Ministry had 14 departments: theaters, musical institutions, fine arts, protection of monuments, external relations, cultural and educational institutions, libraries, planning and economic and financial, accounting and reporting, capital construction and design, educational institutions and personnel , scientific and technical, supply, economic. The Ministry was guided by the decisions of the 20th Congress of the CPSU (1975) and the new Constitution adopted in 1977, which determined the main path for the development of Soviet culture. In the management of theaters worked: chiefs: Chausov M.L. (1974-1981), Gribanov M.A. (1981-1985), inspectors: Astakhov S., Baiteryakova D., Mireny V., Ivanov V., Medvedeva M., Danilov A., Pereberina N., Sadovsky S. and others. All-Union reviews and drama festivals were held and theatrical art of the peoples of the USSR, performances on a military historical theme, which, as a rule, were timed to coincide with anniversaries - 55th, 60th anniversaries of the formation of the USSR, 30th, 35th anniversaries of Victory in the Great Patriotic War. In the department of fine arts and protection of monuments worked: chiefs: Khalturin A.Ch., Popov G.P., deputies: Kulchinsky D.N., Bezobrazova T.A., Khoroshilov P.V., employees of the department: Dareny E.N. ., Egorychev V.V., Vertogradova M.A., Andreev A.V., Anikeev A.A., Kuindzhi V.P. The Ministry, engaged in the development of fine arts, closely cooperated with the Academy of Arts of the USSR (President Uvarov B.S.). Several major all-Union exhibitions were held, which demonstrated the major achievements of Soviet artists. The Department of Musical Institutions was headed in different years by Vartanyan Z.G., Fedorovich V.G., deputies Kurzhiyamsky V.M., Kovalev V.G., Lushin V.A. The management included departments of musical theaters and concert organizations and musical groups, a repertoire and editorial board. Zhuravlenko I.S., Krasnov M.V., Shekhonina I.E., Solomatin V.A., Kachanova E.L. and others. The traditional music festivals "Russian Winter", "Moscow Stars", "Moscow Autumn", "Leningrad Spring", the All-Union Festival of Youth Creativity in Minsk, "Kyiv Spring", "Melodies of the Soviet Transcaucasia", "Belarusian musical autumn” and others. In 1975, “Soyuzconcert” held 30,000 concerts, performances and performances. The 200th anniversary of the Bolshoi Theater was widely celebrated. The central place in the activities of the Ministry in the 70-80s. were concerned with the further development of cultural construction in the countryside. In general, in the USSR in the 60-80s. 131 thousand clubs were built for 29 million seats. On average, six new clubs and libraries were built every day, incl. 90% in the countryside. There were 15 institutes of culture, 11 faculties at universities of arts and pedagogical institutes, 130 cultural and educational schools in the country. For 10 years, the output of cultural enlightenment of workers with secondary education has doubled, and three times with higher education. Theaters and concert organizations of the country held about 30% of performances and concerts in the countryside. They served annually up to 55 million collective farmers and workers. The Ministry paid great attention to the development of amateur art activities in all departments, in which 30 million people participated, incl. almost half of the children. In 1977-1979. The 1st All-Union Festival of amateur creativity was held. The grand final concert in the Kremlin was attended by 2,000 participants. The department of cultural and educational institutions was headed in different years by Danilova L.A., Tyutikov L.N., deputy Demchenko A.N., heads of departments Gavrilenko A.Ya., Rodimtseva I.L., Anoshchenko I.L., Filipchenko N G., Morozov V.O., Dimentman A.M., Greshilova G.N., Selivanov B.A., Skidalskaya N.V. At the end of the 70s. from the department of cultural education institutions, the Department of Museums was separated and created, which was headed by Rodimtseva I.A. The Department of Libraries and Libraries Coordination was headed by Serov V.V., Lesokhina V.S., deputies Nizmutdinov I.K., Fonotov G.P., Silina T.I. Merkulov T.I., Gavrilenko N.V., Rodin V.V. worked in the department. other. There are 24 employees in total. In 1982 there were over 330,000 libraries in the USSR. Each library had an average of 2,400 readers. In 1982, 317 million books and journals were issued in public libraries. There were 148 million readers. In the country, books were published in huge editions, for example, a three-volume work by A. S. Pushkin published in 10.7 million copies.
Ministry in the 70s and 80s maintained cultural relations with 120 countries and more than 250 international cultural organizations. In 1984, the Ministry of Culture sent 127 collectives and groups of artists, 430 vocalists, 43 art exhibitions, more than 500 delegations of cultural figures and specialists to the socialist countries alone. The Department of External Relations was headed by V.F. Grenko, Yu.A. Kuzin, V.M. Kondrashov, I.I. Bodyul, Yu.M. Zhiltsov, V.G. Aleksandrov, A.A. Budrova, L. Supagin I., Miradov R.N., Sagittarius A.I., Petrov G.N. The department employed 50 employees.
The state had a powerful personnel potential in culture and art. 1.2 million people worked in the system of the Ministry of Culture of the USSR, incl. 680 thousand graduates, 280 thousand of them with higher education. More than 600 people received the title of People's Artists of the USSR, 130 People's Artists of the USSR, 237 were awarded Lenin Prizes, 172 received the title of Hero of Socialist Labor. About 200,000 writers, artists, composers, cinematographers, and architects were members of creative unions.
Secondary specialized training was provided by 500 educational institutions of various specialties. Annually released 23-25 thousand people. In the early 80s. 78 higher educational institutions worked in the country, incl. 34 musical universities, 14 theatrical, 13 art, 17 cultural institutions. There was an extensive network of institutes and advanced training courses for managers and specialists in the industry. They included the All-Union Institute for Advanced Training of Leading Personnel, 14 republican institutes and courses, 125 regional and regional courses. More than 55,000 workers of culture and art were retrained there every year.
In different years, the Department of Personnel and Educational Institutions operated in the Ministry, then the Department of Personnel and the Department of Educational Institutions and Scientific Institutions. The heads of the department of educational institutions were: Ilyina Lidia Grigoryevna, Modestov Valery Sergeevich and Chausov Mikhail Lavrenovich. Nazarov V.N., Sukhanov V.V., Medvedeva L.G., Kargin A.S., Zharchinsky O.F., Rudnov Yu.A., Bezrukov A.S. worked in these departments. other. In order to improve work with the Ministries of Culture of the Union Republics and subordinate organizations and institutions, the Organizational and Inspection Department was created in the Ministry (head - Yairova Lyudmila Petrovna, deputy - Mikhailov Anatoly Nikolaevich, then Bashkardin Vyacheslav Fedorovich). Gamayun L.P., Dankova G.V., Chernosova G.M., Zhukova L.A. worked in the department. other. Gavrilenko A.Ya., then Likhachev N.T., deputy - Suslov V.I., secretary of the collegium Dukhanina Tamara Vasilievna were the administrators of the Minister of Culture of the USSR. Ministry of Culture in the 2nd half of the 80s - early 90s. 20th century Liquidation of the Ministry of Culture of the USSR. The onset of perestroika in the USSR in the late 80s - early 90s. presented new requirements for the leadership of culture. The administrative-bureaucratic methods of leadership, excessive centralization, the imperfection of economic mechanisms in the sphere of culture, shortcomings in the content, and omissions in working with the creative intelligentsia were criticized. At this time, there was a change in the leadership of the Ministry of Culture: on August 15, 1986, Zakharov Vasily Georgievich, Doctor of Economics, Professor, was appointed Minister of Culture of the USSR. In 1978 -1983. - Secretary of the Leningrad Regional Committee of the CPSU, in 1983-1985. - Deputy Head of the Propaganda Department of the Central Committee of the CPSU, since 1985 Second Secretary of the Moscow Civil Code of the CPSU. Gribanov Mikhail Alekseevich was appointed First Deputy Minister, Silkova Nina Prokopyevna, Serov Vasily Vasilievich, Shabanov Petr Ilyich, Kazenin Vladislav Igorevich, Khilchevsky Yuri Mikhailovich were appointed Deputy Ministers. A number of specific measures have been taken to improve work with the creative intelligentsia. On October 12, 1986, the Soviet Cultural Fund was established (chairman - Academician D.S. Likhachev). On October 18, the All-Union Musical Society was created, the chairman is the People's Artist of the USSR Arkhipova I.K. At the end of October 1986, the XV Congress of the All-Russian Theater Society took place, at which a decision was made to transfer the WTO to the Union of Theater Societies of the USSR. Chairman - People's Artist of the USSR Lavrov K.Yu., First Secretary of the Board - People's Artist of the USSR Efremov ON. A decision was made to recognize famous avant-garde artists (Larionov M.F., Goncharova N.S., Chagall M.Z., Malevich K.S., Kandinsky V.V., Falk R.R., etc.) By decision The Council of Ministers of the USSR dated March 16, 1989, all theaters were transferred to new conditions for organizational, creative and economic activity, a transition was made from state management to state-public management of theaters. It was also decided to transfer concert organizations to new business conditions. In 1987, there was a division of the troupe of the Moscow Art Theater of the USSR. A.M. Gorky. One part of the team was headed by Efremov O.N., the other - Doronina T.V. In 1987, the Peoples' Friendship Theater was opened in Moscow.
In 1988, the "Concept for building an automated library system of the Ministry of Culture of the USSR" was adopted. A decision was made to expand the rights and powers of the territorial bodies of culture. Since January 1990, the transfer of cultural and educational institutions to new economic conditions began. In 1987, the 70th anniversary of the Great October Revolution was widely celebrated. On a large scale, the country celebrated the 150th anniversary of the death of A.S. Pushkin. The Ministry paid primary attention to issues of folk art. In August 1988, the I International Folklore Festival was held in Moscow, in which all the Union republics and representatives of 20 countries took part. Measures were taken to improve the quality of international cultural relations. The number of international festivals and days of culture of various countries has increased many times over. Particularly large-scale cultural exchanges were with India, Spain, and the USA. In 1988 there was a change in the structure of the apparatus of the Ministry. Instead of sectoral departments, the following were created: the Main Department of Cultural Work, Library and Museum Affairs. Deputy Minister Silkova N.P. became the head of this department at the same time. Heads of departments: Novikova S.N., Bezbozhny V.T., Mizyukov A.N., Gavrilenko N.V., Kondratieva G.V., Donskikh L.V. The Main Directorate for the Protection and Restoration of Monuments and Capital Construction (Head - Petrov S.G., Deputy Gusev P.V.) with six departments. The main department of external relations (headed by I.I. Bodyul) with six departments.
The main production and technical department (head - Yu.G. Kuznetsov).
Main Economic Department (Head - Galitsky M.M.).
Department of Personnel, Educational Institutions and Scientific Institutions (Head - Tyutikov L.N.).
Case management.
Economic management.
After leaving in June 1989 from the post of Minister of Culture of the USSR Zakharov V.G. the post of Minister was vacant for 5 months. In the wake of Gorbachev's perestroika, democratization and glasnost November 21, 1989 Gubenko Nikolai Nikolaevich became the Minister of Culture of the USSR. He is the first Minister of Culture of the USSR, not from party functionaries, but a professional artist, born in 1941, Soviet theater and film actor, director, screenwriter, creator of six films. From 1987 to 1989 - chief director of the Taganka Theatre. Almost all Deputy Ministers have been replaced. Fokht-Babushkin Yury Ulrinovich, Zolotov Andrey Andreevich, Renov Eduard Nikolaevich, Khilchevsky Yury Mikhailovich, Cherkasov Igor Alexandrovich, Shabanov Petr Ilyich became Deputy Ministers. Almost completely destroyed the structure of the Ministry. Instead of departments and main departments, 4 boards were created: cultural policy, external cultural relations, social and legal regulation, economics and material base. Each college had departments and sub-departments. 340-355 employees worked in the Ministry. Particular attention was paid to the development of the fundamentals of legislation on culture. It was possible to achieve an increase in budgetary funds for culture from 0.8% to 1.2% of the expenditure part of the state budget of the USSR. An Inter-Republican Council for the distribution of funds was created in the Ministry. The ministry became a home for the creative intelligentsia. But there was no time left for the implementation of the outlined plans in the Ministry. With the collapse of the USSR in November 1991, the Ministry of Culture of the USSR was liquidated. On February 4, 1992, all employees of the Ministry were dismissed.
Ministry of Culture of the RSFSR. April 1, 1953 - February 1992
By the decision of the Presidium of the Supreme Soviet of the RSFSR on April 1, 1953, the Ministry of Culture of the RSFSR was established. It included the functions of the liquidated Ministry of Cinematography of the RSFSR, the Committee for Cultural and Educational Institutions under the Council of Ministers of the RSFSR, the Committee for Arts under the Council of Ministers of the RSFSR, the Department for Printing Industry, Publishing and Book Trade under the Council of Ministers of the RSFSR. The Ministry of Culture of the RSFSR, in accordance with Article 52 of the Constitution of the RSFSR, was a union-republican one, subordinated to both the Council of Ministers of the RSFSR and the Ministry of Culture of the USSR. In 1953, 617 employees worked in the central office of the Ministry. During the 10 years until 1964, the structure of the Ministry was constantly changing. From the Ministry were separated: cinematography, printing, planetariums, etc. By 1964-1965. the following departments remained in the structure of the apparatus of the Ministry: libraries, club institutions, museums, monument protection, musical institutions, fine arts, theaters, educational institutions and personnel, economic, planning and financial, office, central accounting, capital construction and technical equipment. Departments: first, methodical, for the preparation and organization of foreign tours. Basically, this structure was preserved for all subsequent years. The Ministry had a collegium of 15-17 people.
In different years, the Ministry directly supervised from 120 to 180 different institutions: theaters, museums, concert organizations, higher educational institutions, libraries, manufacturing enterprises. More than 40 thousand creative and technical employees worked in them. In the 80s. 57 higher educational institutions, 20 museums, 12 institutes, 11 theaters, 13 creative teams and concert organizations, 5 republican libraries, more than 30 industrial and other enterprises were under the direct jurisdiction of the Ministry.
From time to time the structure of the Ministry changed slightly, in 1975. the main organizational and inspection department, the main department of historical and cultural monuments, the main department of educational institutions and scientific institutions were created, the main information and computing center (GIVC) was created. The Ministry had a central safety bureau. 3a 38 years of activity of the Ministry of Culture of the RSFSR, there were 5 Ministers of Culture of the RSFSR: Zueva Tatyana Mikhailovna (1953-1959), Popov Alexei Ivanovich (1959-1965), Kuznetsov Nikolai Alexandrovich (1965-1974), Melentiev Yury Serafimovich ( 1974 - July 1990), Solomin Yuri Mefodievich (1990 - November 1991). Deputy Ministers of Culture in different years were: Zaitsev Evgeny Vladimirovich, Gribanov Mikhail Alekseevich, Striganov Vasily Mikhailovich, Melov Vladimir Vasilyevich, Kolobkov Sergey Mikhailovich, Flyarkovsky Alexander Grigorievich, Zhukova Nina Borisovna, Shkurko Alexander Ivanovich. They worked from 5 to 35 years. The Ministry worked in close contact and interaction with the unions of writers, artists, composers, cinematographers, architects of the USSR and the RSFSR, the All-Russian Society for the Protection of Monuments, the All-Russian Theater Society, the All-Russian Choral Society, the Soviet Socialist Society, the Trade Union of Cultural Workers, the All-Union Central Council of Trade Unions and the Central Committee of the All-Union Leninist Young Communist League. The Ministry concentrated its main efforts on working with the ministries and departments of culture of the subjects of the RSFSR on the development of culture and art in the republics, territories and regions (16 ASSRs, 6 territories, 49 regions and 2 independent cities of Moscow and Leningrad). Librarianship flourished. The number of libraries increased from 43,300 in 1953 to 50,200 in 1990. Accordingly, the fund of libraries grew from 33 million to 92.1 million copies of books; employees - from 58.2 to 119.2 thousand; readers - from 31 million to 53.2 million people; book lending - from 59.4 million to 117.5 million. Heads of the Libraries Department were: Gudkov N.N. (1953-1963), Serov V.V. (1964-1967), Fenelonov E.A. (1968-1973), Bachaldin B.N. (1974-1985), Ryzhkova N.A. (1985-1990). At a high level in the RSFSR, library congresses, conferences, meetings were held at which the problems of librarianship were identified and measures were developed to solve them. 50-80s - the time of a genuine upsurge of club business and folk art. The development of a network of club institutions and the construction of rural clubs and district houses of culture reached an unprecedented scale. In the 60-70s. 3-5 new premises were put into operation daily, 90% of them in the countryside. In 1981 there were more than 77.5 thousand clubs. A great merit in the development of the club business belongs to the heads of the department of club institutions: Kudryakov V.N., Deineko V.I. Deputies - Zorina T.V., Nemchenko A.M. Heads of departments and employees: Mishustina S.I., Vinogradskaya L.O., Lavrinenko V.I., Lunin Yu.V., Ilina S.I., Demidov G.I., Antonenko V.G., Stepantsov N. I., Pervushin B.F., Maslova T.V. In 1987, 656,000 circles and groups of amateur performances operated within the system of the Ministry of Culture and Trade Unions. 7 thousand teams had the title - people's. From 1953 to 1991 11 All-Russian and All-Union festivals and reviews of amateur art were held. In the 60-80s. museum business developed rapidly. The number of museums more than doubled: from 396 in 1960 to 828 in 1982. They were visited by millions of spectators. Experienced specialists worked in the department of museums of the Ministry: Bartkovskaya A.V., Evstigneev V.S., Brazhnikova G.I., Starotorzhskaya G.A., Kainova M.A., Kolesnikova L.I., Polyakova T.A., Shumova A.A., Kotlyarova E.A., Vorontsov V.L. In the 70-80s. The protection and restoration of historical and cultural monuments reached a significant scale. There were 30,000 monuments registered in the Ministry. Workshops for the restoration of monuments were set up in 58 territories of the RSFSR. Budget allocations for the restoration of monuments have increased 3.5 times. In 1966, the All-Russian Society for the Protection of Monuments (VOOPIK) was established. The structure of the Ministry included the State Inspectorate for the Protection of Monuments, which was transformed into the Main Directorate for the Protection, Restoration and Use of Monuments. For many years they worked: Prutsyn O.I., Tarasov N.A., Oreshkina A.S., Kucherov V.V., Krivonos A.A., Agaletskaya N.A., Krivonos G.V., Zhivtsova G. .M., Semenova G.V., Golovkin K.G., Gryzlov T.I. and others. In the 70-80s. the activities of the theaters of the RSFSR successfully developed. In the theaters there were plays of domestic and foreign classics: Ostrovsky A.N., Gorky M.A., Chekhov A.P., Saltykov-Shchedrin M.E., Turgenev I.S., Gogol N.V., Dostoevsky F. M., Shakespeare W., Dickens C.; modern authors: Arbuzova A.I., Abdulina A.Kh., Dvoretsky I.M., Drutse I.P., Solynsky A.D., Rozova V.S. and others. The talent of many remarkable theater directors was especially revealed: Simonova E.R., Tovstonogov G.G., Efremova O.N., Goncharova A.A., Volchek G.B. and others.
All-Union and All-Russian festivals and reviews of dramaturgy and theatrical art were held annually, dedicated to: the 150th anniversary of L.N. The following people worked fruitfully in the theater management: Demin V.P., Podgorodinsky V.V., Svetlakova M.A., Skachkov I.P., Khamaza I.L., Pereberina N.V., Kimlach Yu.I., Smirnov G. .A., Miroshnichenko F.A. other. In 1983, the All-Russian Theater Society (WTO) had 34,000 members. The society was headed by Tsarev M.I. for many years. and Ulyanov M.A. The fine arts have made significant progress. Weeks of fine arts were held annually. The exhibition activity reached a great scale. Various exhibitions were held: "Soviet Russia", "My Black Earth Region", "We are building BAM", "60 Heroic Years". Thousands of works of art were purchased and donated to art museums and art galleries. Dozens of monuments and monuments were built every year, the network of art museums and art galleries expanded. For many years in the management of institutions of fine arts worked: Kalashnev F.V., Shitov L.A., Gulyaev V.A., Vorobyov V.P., Nikiforov V.N., Fedyushkin B.I., Vladimirova V.I. , Vlasov B.V., Porto I.B., Kurgan V.P., Usachev E.I., Lovchikova E.A., Dremina T.N. other. Musical art developed successfully. Operas and ballets by G.V. Sviridov, T.N. Khrennikov, A.I. Khachaturian, R.K. Shchedrin, D.D. Shostakovich, S.S. Prokofiev were performed in musical theaters. and others. The traditional music festivals "Russian Winter", "White Nights" were popular. The association "Rosconcert" had more than 30 ensembles, orchestras, VIO. Lushin S.A., Kuznetsova V.P., Ivanova G.N., Ryauzova K.N., Pushkarev A.F., Lyapina T.G., Talanov E.F., Skotarenko V. .WITH.
The primary task of the Ministry was the training of personnel, the network of educational institutions was developing. In 1989, there were 37 higher educational institutions of culture and art, 20 secondary educational institutions in the system of the Ministry. In total, there were 44 universities of culture and art on the territory of the RSFSR. In 1965 there were only 3 institutes of culture in the country. Higher educational institutions in 1982 produced 8.7 thousand specialists, secondary educational institutions - 26.7 thousand. The following worked in the management of educational institutions: Romanov I.I., Fomichev Yu.K., Tulupov G.P., Monakhov F. .A., Tyshchenko A.K., Ziva V.F., Beletskaya K.V., Barminova O.N., Izmesteva N.V., Ermakovich N.A., Kuvardina D.A., Timoshin I.V. . other. In the personnel department worked: Shishkin S.M., Samarin G.M., Novitsky V.B., Dubrovskaya L.I., Panferova Yu.N. other. There were two scientific institutions in the system of the Ministry of Culture: the Scientific Research Institute of Culture and the All-Russian Artistic Research and Restoration Center. I.E. Grabar. A significant place in the work of the Ministry was occupied by economic and financial activities; issues of capital construction, repair and provision of cultural facilities with new equipment and technology. There were 36 production enterprises directly subordinated to the Ministry, incl. 16 mechanical plants, only in the 11th five-year plan in the RSFSR 24 theaters and concert halls for 22,330 seats were built. In these departments worked: Sorochkin B.Yu., Badanov A.N., Agranatov N.B., Drygin I.F., Agapov A.I., Pleskanovskaya I.A., Karlova N.I., Metelkin V. K., Slutsky I.G., Surova N.I., Karpitskaya G.G., Kachalkina Yu.V., Petrosyan L.G., Vasiliev N.S., Antonov E.V., Sergeenko D.M. , Leichenko A.E., Fure G.S. Pryamilov V.I., Bezrukova G.P., Khamidullina L.A., Gorelova V.I., Koronova L.R. worked for many years in the Administration. other. The legal department was headed by M.I. Zvyagin for more than 15 years.
Since 1975, the Main Organizational and Inspection Department has been operating in the Ministry for 15 years. There were three departments in its structure: Non-chernozem zone; Siberia and the Far East; Chernozem zone, Volga region and southern regions. Ermolaev A.I., Ponko A.D., Glushkov V.K., Nifontov O.N., Morozov N.K., Zhiro M.M., Smiryagina V.V., Kobrin V.V. , Tkachev A.I., Domracheva L.G. other. Since 1985, the years of perestroika have come in the country, discussions have unfolded on the problems of cultural construction, renewal of all spheres of culture and art. A concept and plans for the development of culture up to 2005 were developed, and specific plans for the development of individual branches of culture were envisaged. The functions of the Ministry of Culture of the RSFSR were updated. In 1989, the structure of the apparatus of the Ministry was changed, enlarged main departments were created, headed by deputy ministers. New Deputy Ministers came to the apparatus of the Ministry: Anatoly Fomich Kostyukovich, Vasily Alekseevich Rodionov. During all the years of activity of the Ministry of Culture of the RSFSR, the curators in the Council of Ministers of the RSFSR were Deputy Chairman of the Council of Ministers Kochemasov Vyacheslav Ivanovich. On March 27, 1992, by the Decree of the President of the Russian Federation, the Ministry of Culture of the RSFSR was transformed into the Ministry of Culture and Tourism of the Russian Federation, which operated for six months.
Ministry of Culture of the Russian Federation 1992-2008
On March 27, 1992, the Ministry of Culture and Tourism of the Russian Federation was established by Decree of the President of the Russian Federation. After 6 months, on September 30, 1992, it was transformed into the Ministry of Culture of the Russian Federation. The Minister of Culture was appointed critic and literary critic, Doctor of Cultural Studies, rector of the Literary Institute. M.A. Gorky Sidorov Evgeny Yurievich. He worked in this position until August 1997. The Ministers of Culture of the Russian Federation were also: from August 28, 1997 to September 30, 1998 - Natalya Leonidovna Dementyeva; from September 30, 1998 to February 8, 2000 - Egorov Vladimir Konstantinovich First Deputy Minister under Sidorov E.Yu. was Shcherbakov Konstantin Alexandrovich, Deputy Ministers - Volegov Yury Borisovich, Demin Vadim Petrovich, Nikitina Tatyana Kantimirovna, Rodionov Valentin Alekseevich, Shvydkoi Mikhail Efimovich. There were 18 departments in the structure of the Ministry: federal programs (headed by Shishkin S.V.); regional and national policy (Vasilyeva A.V.); for theatrical arts (Podgorodinsky V.V.); for musical art (Lushin S.A.); for fine arts (Bazhanov L.A.); for the protection of cultural heritage (F.M. Mansurova); for Museum Affairs (Lebedeva V.A.); for Libraries (E.I. Kuzmin); on Affairs of Folk Art and Leisure (Demchenko A.N.); for science and educational institutions (Popov V.A.), economic (Sorochkin B.Yu.); accounting (Kulikova N.S.); control and revision (Osokova V.V.); contractual law (Samarin N.A.); international cultural relations (Makarchenkov LL); capital construction (Agapov A.I.); economic (Chernetsov V.A.); case management (G.P. Bezrukova); personnel department (Novoseltsev EN); GIVC (Bogatov B.P.). The members of the Board of the Ministry were: in addition to the leadership of the Ministry, Vedenin Yu.A., Kazenin V.I., Maltsev E.D., Neroznak V.P., Obrosov I.P., Piotrovsky M.B. Under the Minister of Culture, Dementieva Natalia Leonidovna, the former structure of the Ministry was basically preserved. The first deputy was Evstigneev V.S., the deputies were Azar V.I., Antonov V.N. Under the Minister of Culture Egorov Vladimir Konstantinovich, the first deputy was Dementieva N.L., the secretary of state-deputy - Tupikin A.P., deputies Antonov B.N., Egorychev V.V., Khoroshilov P.V. In the structure of the Ministry under the Minister Egorov V.K. were: Department for the Preservation of Cultural Property; management of national and regional cultural policy, arts, museums, public, libraries, science and information, protection of immovable monuments of history and culture, international cultural relations. The main tasks and functions of the Ministry were formulated in the Constitution of the Russian Federation adopted on December 12, 1993, the law of the Russian Federation "Fundamentals of the Legislation of the Russian Federation on Culture" and a number of other laws adopted on June 23, 1999, December 27, 2000. Since the beginning of 2000 the state administration of culture is being restructured and a new structure of the Ministry is being formed. In February 2000, Shvydkoy Mikhail Efimovich, Doctor of Arts and Professor, was appointed Minister of Culture. Golutva A.A., Dementieva N.L., Molchanov D.V. are appointed as First Deputy Ministers. Deputy Ministers: Malyshev V.S., Khoroshilov P.V., Rakhaev A.I. and State Secretary - Deputy Minister Chukovskaya E.E. The Ministry had 4 Departments: state support of cinematography; state support for art and the development of folk art; preservation of cultural values; economy; 5 departments: science and education, regional policy, business administration, foreign cultural policy, legal department; seven departments: the state register and registers, libraries, personnel and awards, museums, the inspection for the protection of immovable monuments of history and culture, a special department, and an economic department. The Ministry had 13 cluster territorial departments for the preservation of cultural values. The Minister had 8 advisers and one assistant. The Ministry worked in this form for 4 years, until March 2004. On March 9, 2004, the Ministry of Culture and Mass Communications was created in the Russian Federation, formed on the basis of the Ministry of Culture and the Ministry for Press, Television and Radio Broadcasting and Mass Media. Alexander Nikolayevich Sokolov (March 2004 - May 2008), Doctor of Art History, Professor, Honored Art Worker, is appointed Minister of Culture. The Ministry included: the Federal Agency for Culture and Cinematography (headed by M.E. Shvydkoy); Federal Agency for Press and Mass Communications (Head Seslavinsky M.V.); Federal Archival Agency (headed by V.P. Kozlov); Federal Service for Supervision of Compliance with Legislation in the Sphere of Mass Communications and Protection of Cultural Heritage (Head Boyarskov B.A.), Deputy Ministers were: Amunts D.M., Nadirov L.N., Busygin A.E., and Secretary of State -Deputy Minister Pozhigailo P.A.
The Ministry of Culture and Mass Communications had 4 Departments: administration, public policy, financial and economic and legal. Each department had 4-5 departments. The directors of the Departments were: Drozhzhin Alexander Yuryevich, Bundin Yury Ivanovich, Golik Yury Vladimirovich, Karnovich Kirill Valerievich, Shubin Yury Alexandrovich. In the Federal Agency for Culture and Cinematography, the Deputy Ministers were: Golutva A.A., Malyshev V.S. The agency had 7 departments, each of them had departments. The heads of departments and departments were: Kobakhidze M.B., Kolupaeva A.S., Lazaruk S.V., Ilyina I.F., Kiselev F.V., Krasnov A.D., Sparzhina M.Yu., Luchin A. .A., Furmanova G.G., Blinova S.M., Manilova T.L., Smirnova I.M., Arakelova A.O., Serpensky A.M. The Ministry of Culture and Mass Communications of the Russian Federation operated until May 12, 2008. By the Decree of the President of May 12, 2008, the Ministry of Culture of the Russian Federation was created on the basis of this Ministry. Avdeev Alexander Alekseevich was appointed Minister of Culture. He served as the Minister of Culture of the Russian Federation until May 2012. The Deputy Ministers were: Chukovskaya E.E., Busygin A.E., Golutva A.A., Khoroshilov P.V. The Ministry had 7 departments:
Department of Contemporary Art and International Cultural Relations (Director Shalashov A.A.). The department included 6 departments: musical art; theatrical art; folk art; Europe, Asia, Africa, America; cultural relations with the CIS countries and compatriots abroad, coordinating and analytical.
Department of Cinematography (Director Zernov S.A.). The department consisted of 5 divisions.
Department of Cultural Heritage (Director Kozlov R.Kh.). The department included 5 departments: museums, libraries and archives, accounting of cultural values, fine arts.
Department of Science and Education (Director Neretin O.P.). The department included 4 departments; art education; planning and development of education, science and innovation, targeted programs.
Department of Legal and Regulatory (Director Rybak K.E.). The department consisted of 5 departments.
Department of Economics and Finance (Director Shevchuk S.G.). The department consisted of 5 departments.
Department of Construction, Overhaul, Investment Policy and Restoration (Director Cherepennikov K.G.). The department consisted of 2 divisions.
Department of the General Secretariat (Director Yu.A. Shubin). The department consisted of 5 departments.
The Ministry also had independent departments; public service, personnel and awards (head Egorova E.V.), and a special department (head Pavlov P.V.). The Ministry had a coordinating council for culture, which included the heads of cultural bodies of all subjects of the Russian Federation. The collegium of the Ministry had 29 members. On May 12, 2008, the Federal Service for Supervision of Compliance with Legislation in the Field of Cultural Heritage Protection (Rosokhrankultura) was established, headed by Alexander Vladimirovich Kibovsky. In the structure of Rosokhrankultura there were 4 departments and 13 territorial departments. The Ministry was in charge of the Federal Archival Agency (headed by Kozlov Vladimir Petrovich, Artizov Andrey Nikolaevich). The main efforts of the Ministry of Culture of the Russian Federation were focused on the implementation of the Federal Target Programs "Culture of Russia 2001-2005" and "Culture of Russia 2006-2011." , which contained the strategy for the development of the industry and practical levers for the implementation of programs. The many-sided, multifaceted and multinational theatrical world of Russia has been steadily developing. The number of theaters grew from 568 to 594, the number of performances grew by 4-8% per year, the number of spectators from 27 to 30 million people. The theaters employed about 80,000 workers, including 35,000 artistic and artistic personnel. On average, the country hosted 260 theater festivals in 77 cities. The musical life developed actively. There were 70 theaters of opera and ballet, 12 theaters of musical comedy and operetta. More than 2,000 performances were shown annually by musical theaters. 13 symphony and chamber orchestras, 6 leading concert organizations, 2 academic choirs and 7 professional art groups carried out a great deal of work. More than 30 music festivals were held annually. The main activities of the Ministry carried out in cooperation with the Union of Composers, which has 48 branches in the country, which consisted of 1.5 thousand composers and performers. Visual arts, traditional forms and the so-called contemporary art successfully developed. Every year, cultural bodies and the Union of Artists of Russia on a parity basis held from 1 thousand to 3.5 thousand various exhibitions, works of fine, decorative and folk art were purchased for museums of fine arts and art galleries. Private business, the art market, and art fairs began to play an increasingly important role. In the field of librarianship, the main tasks were focused on the creation of a national electronic library and a consolidated catalog of Russian libraries, the creation of a multi-level system of federal and regional centers for the preservation of library collections. In general, there was a reduction in libraries. For 7 years from 2001 to 2008. the number of libraries decreased by 2.5 thousand, especially in the countryside. A big problem was the reduction in the acquisition of municipal libraries with literature. The popularity of museums grew, and a trend was established for the growth of the main indicators in the field of museum business. The number of museums of all departments increased from 2113 in 2001 to 2468 in 2007, incl. museums of the Ministry of Culture from 2027 to 2281. Museums were visited annually by 70-76 million visitors. From 50,000 to 120,000 museum items were restored annually by museums and entered into an electronic catalogue. The activities of cultural and leisure institutions and houses of folk art are characterized by an increase in intensity, the search for innovative effective forms of work. In 2007, there were 49,572 cultural and leisure institutions of all departments, incl. in the system of the Ministry of Culture - 48399 institutions. 28 thousand formations of amateur artistic creativity were constantly operating. More than 3.3 million creators took part in them, incl. in rural areas 2.3 million. A significant part of the participants are children. At the same time, almost a quarter of the institutions required repair, 32 thousand buildings were in an unsatisfactory condition. There was a high staff turnover. Of the 312,000 personnel, only 45,000 had higher education. The number of parks of culture and recreation has sharply decreased. In 2001-2007 the number of parks decreased by 141. The Ministry paid considerable attention to strengthening cultural ties with other countries. International documents on cultural cooperation were concluded with 35 countries.
In the Russian Federation, there were 74 higher educational institutions of culture and art, 278 secondary specialized educational institutions, more than 5.5 thousand children's art schools of various profiles. Almost 1.5 million people were employed in all educational institutions, incl. Universities - 95 thousand, secondary educational institutions - 15 thousand, in the Children's School of Art - 13 million people. More than 148 thousand teachers worked in educational institutions. There were 44 higher educational institutions and 18 secondary educational institutions under federal jurisdiction.
There were 9 scientific institutions in the system of the Ministry, over 800 researchers with scientific degrees of doctors and candidates of sciences worked in them.
The Russian Federation in 2010 included: 21 republics, 9 territories, 45 regions, two cities of federal subordination (Moscow and St. Petersburg), 4 autonomous districts: a total of 83 subjects of the Russian Federation. All of them were united in 8 federal districts. In the subjects there were: 41 ministries of culture, 24 departments of culture, 10 committees of culture, 12 departments of culture. The work of the Ministry of Culture of the Russian Federation with the regions was carried out through the coordinating council for culture, as an advisory body under the Ministry of Culture of the Russian Federation. The Council met at least 2 times a year for special meetings. The Council was headed by the Minister of Culture of the Russian Federation.
335 employees worked in the apparatus of the Ministry of Culture of the Russian Federation. All of them had a higher education, incl. with the degrees of doctors and candidates of sciences, professors, associate professors - 11, members of creative unions - 6. 84 people had work experience in the Ministry up to 5 years, 51 people up to 10 years, 48 people up to 15 years. There was an active process of personnel renewal. In 2009 alone, 52 new employees were hired and 33 fired, mainly due to age and transfer to another job. The Ministry of Culture of the Russian Federation managed to overcome the negative consequences in the development of the culture of the first perestroika years. The Ministry confidently confirmed the status of the state forming institution in the field of cultural construction.
State Administration of Cinematography 1917-2016
The establishment of centralized state control over film production began in 1919 with the nationalization of the film industry and trade.
In 1919-1922. the All-Russian Photo-Cinematic Department (VFKO) of the People's Commissariat for Education of the RSFSR operated. Head of Department Leshchenko D.I.
In 1921, the outstanding film director S.M. Eisenstein created the film "Battleship Potemkin", which triumphantly went around the world.
In 1922, VFKO was transformed into the Central State Photographic Enterprise (Goskino). It received the monopoly right to rent paintings throughout the territory of the RSFSR. Goskino was under the jurisdiction of the People's Commissariat of Education of the RSFSR. The leaders of the filmmaker were: Shvedchikov Konstantin Matveyevich (1919-1923), Khanzhenkov Alexander Alekseevich (1923-1926), Kadomtsev Erasm Samuilovich (1926-1929), Rudzutak Yan Samuilovich (1929-1930), Ryutik Martemyan Nikitovich (1930-1931), Shumyatsky Boris Zakharovich (1931-1938).
On June 13, 1924, the Council of People's Commissars of the RSFSR established a joint-stock company for the production and distribution of films in the RSFSR. Later it was renamed into "Sovkino". The film industry is growing rapidly, the network of film installations is expanding, sound films are being mastered. At the same time, the "Film Committee under the Council of People's Commissars of the USSR" operates. In the mid 30s. the first sound films were created: "A ticket to life" (dir. Ekk N.V.), "Seven brave" (dir. Gerasimov S.A.), "Chapaev" (dir. brothers Vasiliev S. and G.) February 13, 1930 The All-Union Film Industry Association Soyuzkino is organized, subordinate to the Supreme Council of National Economy and the People's Commissariat of Light Industry. On February 13, 1933, the Main Directorate of the Film and Photo Industry under the Council of People's Commissars of the USSR was created, it is part of the All-Union Committee for Arts under the Council of People's Commissars of the USSR. On March 23, 1938, the Committee for Cinematography under the Council of People's Commissars of the USSR was created. It concentrates all film making. Committee chairmen: Dukelsky Semyon Semyonovich (1938-1939), Bolshakov Ivan Grigoryevich (1939-1946). March 23, 1946 The Committee is transformed into the Ministry of Cinematography of the USSR. Bolshakov Ivan Grigoryevich (1946-1953) is appointed Minister. Cinematography finally formed as an independent branch of culture. All film studios, cinemas and film industry enterprises, as well as the management of film distribution, the construction of film enterprises, and the training of personnel for cinematography, came under the jurisdiction of the committee. The committee carries out general management of the activities of the departments of cinematography under the Council of People's Commissars of the Union and Autonomous Republics, regional and regional executive committees. In 1940, there were more than 12,000 cinemas in the cities and 18,800 in the countryside in the USSR.
During the Great Patriotic War, there were more than 150 operators at the front. During these years, 102 feature films of various themes and genres were released. Among them: "Secretary of the district committee", "At six o'clock in the evening after the war", "Pig and the shepherd" (dir. Pyryev I.A.); "Rainbow" (dir. Donskoy M.S.); “Wait for me” (dir. Stolpner A.P.); "Two Soldiers" (dir. Lukov L.D.), and others. During the war years, about 5 million meters of film were filmed, which are an invaluable historical document about the war. The Central United Film Studio was established in Alma-Ata. It released more than 100 all domestic films. In August 1946, the Central Committee of the All-Union Communist Party of Bolsheviks adopted a resolution on the film "Big Life" (dir. Lukov L.D.). Film directors G. M. Kozintsev, V. N. Pudovkin, S. N. Yutkevich, S. M. Eisenstein were criticized. At the turn of the 40-50s. over 100 new films have been released. Trophy films appeared. The films “Kuban Cossacks” (dir. Pyryev I.A.) were released; "Volga, Volga", "Circus" (dir. Aleksandrov G.A.). Since March 1953, the functions of state administration of cinematography have been transferred to the Ministries of Culture of the USSR and the RSFSR. For 10 years cinema has been in the system of the Ministries of Culture. On March 23, 1963, the Union-Republican State Committee of the USSR on Cinematography was formed, since 1978 - the State Committee of the USSR on Cinematography. It acted until 1988. Chairman of the Committee: Romanov Alexey Vladimirovich (1963-1972), Yermash Filipp Timofeevich (1972-1986), Kamshalov Alexander Ivanovich (1986-1991), first deputy chairman Sychev Nikolay Yakovlevich, deputies of the chairman People: Aleksandrov Mikhail Vladimirovich, Ioshin Oleg Ivanovich, Moshin Leonid Sergeevich, Pavlenok Boris Vladimirovich, Sizov Nikolay Timofeevich. There were 3 main departments in Goskino of the USSR: the main script editorial board for feature films (editor-in-chief Anatoly Vasilyevich Bogomolov); main directorate of film production (head Sholokhov Gennady Evgenievich); the main directorate of film production and film distribution (headed by Belov Fedor Fedorovich) In the 70-80s. in the USSR there were 40 film studios, where it was possible to create 130 feature films, 100 television films and about 140 documentary films a year. 7 film copy factories. On July 5, 1963, the State Committee of the RSFSR on Cinematography was established (since 1972, the Committee on Cinematography under the Council of Ministers of the RSFSR). There were 2 main departments in the committee: the main department of film production (with a script editorial board, head Yury Vladimirovich Simaranov, editor-in-chief Gvarishvili Teimuraz Ivanovich); Main Directorate of Cinematography and Film Distribution (Head Vasily Petrovich Zuev). Committee chairmen: Filippov Alexander Gavrilovich (1963-1985), Sychev Nikolay Yakovlevich (1985-1988). First Deputy Chairman Soloviev Mikhail Afanasyevich, Deputy Chairman Nifontov Oleg Ivanovich. In 1965, the founding congress of the Union of Cinematographers of the USSR took place. As of January 1, 1978, there were 5462 members of the Union in it. The first chairman of the Union Kulidzhanov L.A. In 1988-1999 the management of the cinematographic industry was in the system of the Ministry of Culture of the RSFSR. Anatoly Ivanovich Protsenko was the first deputy minister of culture for cinema. There were: the main directorate of film production (headed by Kazarin Mikhail Nikolaevich), with two departments: planning and economic and financial, production and technical and script editorial board; the main directorate of cinematography and film production (headed by Markov Valery Viktorovich), with five departments: organizing and improving film services for the population, introducing and operating technological equipment, organizing and developing a video network, economics and film and video distribution. There were 11 film studios in the system of the Ministry of Culture of the RSFSR: the largest of them was the Sverdlovsk Film Studio. All film studios annually released from 80 to 90 full-length feature films, up to 160 documentaries, up to 450 popular science films, over 20 animated films and about 750 issues of film magazines. Over 1500 films were dubbed in the languages of the peoples of the Russian Federation. Up to 70,000 film installations operated in the RSFSR. About 3 million spectators visited cinemas every day, there were 5 film technical schools. The following magazines were published: Art of Cinema, Film Script, Film Studies Notes. In 1990-1992 the State Fund for the Development of Cinematography under the Council of Ministers of the RSFSR. The President of the Fund is Anatoly Ivanovich Protsenko, and Alexander Ivanovich Melekh, Deputy Chairman. On February 5, 1992, the Cinematography Committee under the Government of the Russian Federation was established. From 1993 to 1996 it was called the Committee of the Russian Federation on Cinematography, from 1996 to 1999. - State Committee of the Russian Federation for Cinematography. All these years, the chairman of the committee was Medvedev Armen Nikolaevich, the first deputy chairman was Anatoly Ivanovich Protsenko. In 1996-1999 Chairman of the State Committee for Cinematography - Golutva Alexander Alekseevich. Deputy chairmen - Melekh Alexander Ivanovich and Lazaruk Sergey Vladimirovich.
In 1999-2000 Alexander Alekseevich Golutva was the chairman of the State Committee for Cinematography, the deputy chairmen were Sergey Vladimirovich Lazaruk and Viktor Vladimirovich Glukhov.
From May 2000 to 2016, the management of cinematography was in the system of the Ministry of Culture of the Russian Federation.
In 2000-2004 In the Ministry of Culture, there was a Department of State Support for Cinematography (Head Sergey Vladimirovich Lazaruk, Deputy Head Yury Mikhailovich Dorozhkin), with two departments: creative expertise and support for the production of national films (Head Sergey Anatolyevich Zernov), a department for the promotion of domestic films (Head Galina Markovna Strochkova). Cinematography issues were supervised by the First Deputy Minister Golutva Alexander Alekseevich. In 2004-2008 The Cinematography Department was part of the Federal Agency for Culture and Cinematography of the Ministry of Culture and Mass Communications of the Russian Federation. Alexander Golutva was the deputy head of the agency. The Department of Cinematography (headed by Sergei Vladimirovich Lazaruk) had 3 departments: the production of national films (headed by Elena Nikolaevna Gromova), the promotion of domestic films (headed by Galina Markovna Strochkova), and the state register (headed by Yury Viktorovich Vasyuchkov).
From May 15, 2008 to 2013, the Department of Cinematography operated in the Ministry of Culture of the Russian Federation (Directors Sergei Anatolyevich Zernov, Vyacheslav Nikolayevich Telnov, Deputy Director - Igor Aleksandrovich Kallistov) with four departments: state support of feature national films (Head Elena Nikolaevna Gromova) , state support for the production of feature animated national films (headed by Elena Kirillovna Mineva), promotion and distribution of national films (headed by Galina Markovna Strochkova), the state register (headed by Yury Viktorovich Vasyuchkov). In the leadership of the Ministry, this department was supervised by the Deputy Minister Golutva A.A. and since 2011 - Chukovskaya Ekaterina Eduardovna. In December 2000, the Government of the Russian Federation created the Federal Fund for Social and Economic Support of Domestic Cinematography. The mechanism of state support for cinematography was regulated by the federal programs "Culture of Russia (2001-2005)" and "Culture of Russia (2006-2010)". Release of film products for 1996-2002 increased from 110 to 670 units per year, including feature films - from 20 to 105 units. From mid-2004 to mid-2007, the total number of films produced was 250 full-length feature films, 15 short feature films, about 30 issues of film magazines "Wick" and "Yeralash", about 1,300 titles of documentaries and about 200 titles of animated films. The films of the leading masters Khotinenko V., Govorukhin S., Godovsky V., Chukhrai P., Khutsiev M., Poloka G., Melnikov V., Ryazanov E., Bortko V., Panfilov G., Balabanova A. ., Sokurov A. and filmmakers of the younger generation: Bondarchuk F., Meskhiev D., Ogorodnikov V., Kravchuk A., Sashaev P. and others. In connection with the celebration of the 60th, 65th, and 70th anniversaries of the Victory in the Great Patriotic War, cinema turned to patriotic themes. Many films were devoted to historical issues, reflecting the life of various nationalities in Russia. Russian cinema has received international recognition. In 2006 alone, 128 screenings of Russian films took place at international festivals. 56 films were sent to them. In 2008, the celebration of the 100th anniversary of the release of the first Russian feature film was held.
Russian cinema has received international recognition. In 2006 alone, 56 films were sent to international festivals.