Editing Cinema of the Soviet Union (section)

==1930s==
In the early 1930s, Russian filmmakers applied [[socialist realism]] to their work. Among the most outstanding films was ''[[Chapaev (film)|Chapaev]]'', a film about Russian revolutionaries and society during the Revolution and Civil War. Revolutionary history was developed in films such as ''[[Golden Mountains (film)|Golden Mountains]]'' by [[Sergei Yutkevich]], ''[[Outskirts (1933 film)|Outskirts]]'' by [[Boris Barnet]], and the Maxim trilogy by [[Grigori Kozintsev]] and [[Leonid Trauberg]]: ''[[The Youth of Maxim]]'', ''[[The Return of Maxim]]'', and ''[[The Vyborg Side]]''. Also notable were biographical films about Vladimir Lenin such as [[Mikhail Romm]]'s ''[[Lenin in October]]'' and ''[[Lenin in 1918]]''. The life of Russian society and everyday people were depicted in films such as ''[[Seven Brave Men]]'' and ''[[Komsomolsk (film)|Komsomolsk]]'' by [[Sergei Gerasimov (film director)|Sergei Gerasimov]]. The comedies of [[Grigori Aleksandrov]] such as ''[[Circus (1936 film)|Circus]]'', ''[[Volga-Volga]]'', and ''[[Tanya (1940 film)|Tanya]]'' as well as ''[[The Rich Bride]]'' by [[Ivan Pyryev]] and ''[[By the Bluest of Seas]]'' by Boris Barnet focus on the psychology of the common person, enthusiasm for work and intolerance for remnants of the past. Many films focused on national heroes, including ''[[Alexander Nevsky (film)|Alexander Nevsky]]'' by [[Sergei Eisenstein]], ''[[Minin and Pozharsky (film)|Minin and Pozharsky]]'' by [[Vsevolod Pudovkin]], and ''[[Bogdan Khmelnitsky (film)|Bogdan Khmelnitsky]]'' by [[Igor Savchenko]]. There were adaptations of literary classics, particularly [[Mark Donskoy]]'s trilogy of films about [[Maxim Gorky]]: ''[[The Childhood of Maxim Gorky]]'', ''[[Gorky 2: My Apprenticeship|My Apprenticeship]]'', and ''[[Gorky 3: My Universities|My Universities]]''.{{Citation needed|date=August 2011}}

During the late 1920s and early 1930s the Stalin wing of the Communist Party consolidated its authority and set about transforming the Soviet Union on both the economic and cultural fronts. The economy moved from the market-based [[New Economic Policy]] (NEP) to a system of central planning. The new leadership declared a "cultural revolution" in which the party would exercise control over cultural affairs, including artistic expression. Cinema existed at the intersection of art and economics; so it was destined to be thoroughly reorganized in this episode of economic and cultural transformation.

To implement central planning in cinema, the new entity [[Soyuzkino]] was created in 1930. All the hitherto autonomous studios and distribution networks that had grown up under NEP's market would now be coordinated in their activities by this planning agency. Soyuzkino's authority also extended to the studios of the national republics such as [[VUFKU]], which had enjoyed more independence during the 1920s. Soyuzkino consisted of an extended bureaucracy of economic planners and policy specialists who were charged to formulate annual production plans for the studios and then to monitor the distribution and exhibition of finished films.

With central planning came more centralized authority over creative decision making. Script development became a long, torturous process under this bureaucratic system, with various committees reviewing drafts and calling for cuts or revisions. In the 1930s censorship became more exacting with each passing year. Feature film projects would drag out for months or years and might be terminated at any point.

[[Alexander Dovzhenko]] drew from Ukrainian folk culture in such films as ''[[Earth (1930 film)|Earth]]'' (1930)
along the way because of the capricious decision of one or another censoring committee.
This redundant oversight slowed down production and inhibited creativity. Although central planning was supposed to increase the film industry's productivity, production levels declined steadily through the 1930s. The industry was releasing over one-hundred features annually at the end of the NEP period, but that figure fell to seventy by 1932 and to forty-five by 1934. It never again reached triple digits during the remainder of the Stalin era. Veteran directors experienced precipitous career declines under this system of control; whereas Eisenstein was able to make four features between 1924 and 1929, he completed only one film, ''Alexander Nevsky'' (1938) during the entire decade of the 1930s. His planned adaptation of the [[Ivan Turgenev]] story ''[[Bezhin Meadow]]'' (1935–37) was halted during production in 1937 and officially banned, one of many promising film projects that fell victim to an exacting censorship system.

Meanwhile, the USSR cut off its film contacts with the West. It stopped importing films after 1931 out of concern that foreign films exposed audiences to capitalist ideology. The industry also freed itself from dependency on foreign technologies. During its industrialization effort of the early 1930s, the USSR finally built an array of factories to supply the film industry with the nation's own technical resources.

To secure independence from the West, industry leaders mandated that the USSR develop its own sound technologies, rather than taking licenses on Western sound systems. Two Soviet scientists, [[Alexander Shorin]] in Leningrad (present-day St. Petersburg) and [[Pavel Tager]] in Moscow, conducted research through the late 1920s on complementary sound systems, which were ready for use by 1930. The implementation process, including the cost of refitting movie theaters, proved daunting, and the USSR did not complete the transition to sound until 1935. Nevertheless, several directors made innovative use of sound once the technology became available. In ''[[Enthusiasm (film)|Enthusiasm: The Symphony of Donbass]]'' (1930), his documentary on coal mining and heavy industry, [[Dziga Vertov]] based his soundtrack on an elegantly orchestrated array of industrial noises. In ''[[The Deserter (1933 film)|The Deserter]]'' (1933) Pudovkin experimented with a form of "sound counterpoint" by exploiting tensions and ironic dissonances between sound elements and the image track. And in ''Alexander Nevsky'', Eisenstein collaborated with the composer [[Sergei Prokofiev]] on an "operatic" film style that elegantly coordinated the musical score and the image track.

As Soviet cinema made the transition to sound and central planning in the early 1930s, it was also put under a mandate to adopt a uniform film style, commonly identified as "socialist realism". In 1932 the party leadership ordered the literary community to abandon the avant-garde practices of the 1920s and to embrace socialist realism, a literary style that, in practice, was actually close to 19th-century realism. The other arts, including cinema, were subsequently instructed to develop the aesthetic equivalent. For cinema, this meant adopting a film style that would be legible to a broad audience, thus avoiding a possible split between the avant-garde and mainstream cinema that was evident in the late 1920s. The director of Soyuzkino and, later, [[GUKF]], [[Boris Shumyatsky]] (1886–1938), served as chief executive of the Soviet film industry from 1931 to 1938, and was a harsh critic of the montage aesthetic. He championed a "cinema for the millions"{{Citation needed|date=August 2011}}, which would use clear, linear narration. Although American movies were no longer being imported in the 1930s, the Hollywood model of [[continuity editing]] was readily available, and it had a successful track record with Soviet movie audiences. Soviet socialist realism was built on this style, which assured tidy storytelling. Various other strictures were then added to the doctrine: positive heroes to act as role models for viewers; lessons in good citizenship for spectators to embrace; and support for reigning policy decisions of the Communist Party.

Such aesthetic policies, enforced by the rigorous censorship apparatus of the USSR, resulted in a number of formulaic films. Apparently, they did succeed in sustaining a true "cinema of the masses". The 1930s witnessed some stellar examples of popular cinema. The single most successful film of the decade, in terms of both official praise and genuine affection from the mass audience, was ''[[Chapaev (film)|Chapaev]]'' (1934), directed by the [[Vasilyev brothers]]. Based on the life of a martyred Red Army commander, the film was touted as a model of socialist realism, in that [[Vasily Chapayev|Chapayev]] and his followers battled heroically for the revolutionary cause. The film also humanized the title character, giving him personal foibles, an ironic sense of humour, and a rough peasant charm. These qualities endeared him to the viewing public: spectators reported seeing the film multiple times during its first run in 1934, and ''Chapaev'' was periodically re-released for subsequent generations of audiences.{{Citation needed|date=August 2011}}

A genre that emerged in the 1930s to consistent popular acclaim was the musical comedy, and a master of that form was [[Grigori Aleksandrov]] (1903–1984). He effected a creative partnership with his wife, the brilliant comic actress and chanteuse [[Lyubov Orlova]] (1902–1975), in a series of crowd-pleasing musicals. Their pastoral comedy ''[[Volga-Volga]]'' (1938) was surpassed only by ''Chapaev'' in terms of box-office success. The fantasy element of their films, with lively musical numbers reviving the montage aesthetic, sometimes stretched the boundaries of socialist realism, but the genre could also allude to contemporary affairs. In Aleksandrov's 1940 musical ''[[Tanya (1940 film)|Tanya]]'', Orlova plays a humble servant girl who rises through the ranks of the Soviet industrial leadership after developing clever labour-saving work methods. Audiences could enjoy the film's comic turn on the ''[[Cinderella]]'' story while also learning about the value of efficiency in the workplace.<ref>{{cite web |url=http://www.filmreference.com/encyclopedia/Romantic-Comedy-Yugoslavia/Russia-and-Soviet-Union-THE-CINEMA-OF-STALINISM-1930-1941.html|title=THE CINEMA OF STALINISM: 1930–1941|publisher=Advameg, Inc.}}</ref>