By Emma Widdis
This primary advent to Alexander Medvedkin's filmmaking occupation strains his means of constructing a different model of cinematic satire in the course of the interval of the Soviet progressive scan. utilizing unique archival fabric and Medvedkin's writings for his unfinished autobiography, Widdis explores the movies The Miracle employee, New Moscow and the experimental "film train"--or kinopoezd--as good because the movie Happiness.
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Extra resources for Alexander Medvedkin: The Filmmaker's Companion 2 (The KINOfiles Filmmaker's Companions)
His long, sometimes motionless, and highly stylised shots are organised geometrically, making striking use of the contrasts of light and dark.
4 [Gazeta no. 4] and was one of a series of such filmed newspapers. This very simple reel demonstrates one key aspect of the train’s work: the desire to encourage shame. In it, poor workers were named and shamed outright, and local leaders (Medvedkin’s favourite target, bureaucracy) were filmed at a lengthy and ill-focused meeting, ignoring the urgent demands of the work that surround them. Although such ‘film-newspapers’ might appear to resemble the many other film-newspapers of the time, Medvedkin was at pains to emphasise how different they were.
This curious combination of qualities, infused with the director’s characteristic energy and fervour, marks all his work. 2. The Film-Train In Medvedkin’s diaries from the late 1920s we find a young man who is preoccupied with communication in all its forms. His tiny handwriting covers the small pages of successive notebooks with notes on films he has seen, sketches and screenplays. It is in this perpetual and urgent quest for new forms of cinematic communication that the value of Medvedkin’s cinematic legacy lies.