2morrow+Manege Film School

Moscow City Department of Culture

Manege Association

2morrow+Manege Film School is launching the first educational course “Ten Stories of the Cinema. A Modern Guide”.

The course will open on October 3 and will comprise 10 classes dedicated to key turns in the history of the cinema.

The talk will center on specific films, for example, A Corner in Wheat, directed by David Wark Griffith; also, the focus will be on the general trends and phenomena, including the emigration of filmmakers from Nazi Germany and the loss of mass audience.

The author of the course, Kirill Adibekov, has divided the hundred years of filmmaking into ten key episodes spanning subjects from stunts and photography to independent movies and the eventual break-up with the audience.

Each lecture will focus on one key event, highlighting its historical and pragmatic significance and placing it within a wider context.

The course will constitute a subjective version of the history of filmmaking as construed by director, film expert, poet, translator Kirill Adibekov, who is a co-founder of the website Kinote.info, the curator of the 2morrow / Zavtra film festival, the winner of the Elephant prize in the Sine Charta category (2013) and the author of the retrospectives of Pedro Costa, Jean-Marie Straub and Dani?le Huillet, Johan van der Keuken and Frans van de Staak.

There are two options available for studies:  

• Attending classes at the Worker and Kolkhoz Woman Exhibition Center (123b, Prospekt Mira)
• Joining in the interactive online course.

Tuition fees:

11,900 rubles for the first 30 participants to sign up for the course

13,900 rubles for all other bookings

One day attendance: 1,390 rubles

Online studies

Full course fee: 5,000 rubles

One day fee: 600 rubles

No special education required.

The audience will be supplied with all necessary additional materials.

“Ten Stories of the Cinema. A Modern Guide” — Course program: 

Day 1. Introductory lecture

The conditions that led to the emergence of filmmaking. The historical context. The technique of photography and painting. Representational theatre. The cinema as non-art. Fantastic movies, stunts.

Day 2. David Wark Griffith. The beginning of the silent era.

The cinematographic mindset: the invention of editing. Filmmaking as the first mass art. Fragment and storytelling.

Movies:

A Corner in Wheat, David Wark Griffith, 1909

Broken Blossoms, David Wark Griffith, 1919

Blind Husbands, 1918, Erich Von Stroheim

Day 3. Soviet avant-garde. Live-action documentaries

Filmmaking as a potential source of a new reality. Reality: reflection and recreation. The other side of the fictitious and non-fictitious reality.

Movies:

Three Songs About Lenin (Dziga Vertov, 1934)

Aerograd (Alexander Dovzhenko, 1935)

Day 4. Friedrich Murnau. Silent film: the rise to perfection and the end of the era.

The picture is capable of speaking for itself; storytelling beyond words. The final years of the silent cinema: the heyday. The development of audio recording; the emergence of talkies.

Movies:

The Last Laugh (Der letzte Mann, 1924)

Day 5. Hollywood. Immigration / Emigration

Before the War: the cinema and Nazism. Immigration to America, working in Hollywood (Fritz Lang, Bertolt Brecht). Post-war America and McCarthyism: emigration (Charles Chaplin).

Movies:

Hangmen Also Die! (Fritz Lang, 1943)

Monsieur Verdoux (Charles Chaplin, 1947)

Day 6. Jean Renoir. Toni as a perspective

Neo-realism before the emergence of neo-realism: non-professional actors, realistic picture and sound.

Movies:

Toni (Jean Renoir, 1935)

Day 7. Roberto Rossellini. Post-war filmmaking

Filmmaking after disaster. Resistance, liberation, neo-realism and the Thaw.

Movies:

Rome, Open City (Roma citt? aperta, 1945)

Pais? (1946)

Germany Year 90 Nine Zero (Germania anno zero, 1948)

Day 8. Jean-Luc Godard. Films about films

New waves in filmmaking. Modernity and the revision of history; break-up with the audience. Filmmaking embarks on an analysis of itself. The phenomena of television and video.

Movies:

Contempt (Le m?pris, Jean-Luc Godard, 1965)

Number Two (Num?ro deux, Jean-Luc Godard, 1975)

Day 9. American (in)dependent films

Filmmaking in Hollywood and beyond. Mass experimental filmmaking after the 1960s — an American phenomenon.

Day 10. Afterword

The history and modern day of filmmaking. Trends; filmmaking and distribution. Cinemateques, festivals, movie theaters. Films and their audiences.

The course is created by Kirill Adibekov, a director, film expert, poet, translator, who is a co-founder of the website Kinote.info, the curator of the 2morrow / Zavtra film festival, the winner of the Elephant prize in the Sine Charta category (2013) and the author of the retrospectives of Pedro Costa, Jean-Marie Straub and Dani?le Huillet, Johan van der Keuken and Frans van de Staak.

Schedule: once a week at 14.00 on Saturdays

You can sign up and pay for the course here

https://partizan.timepad.ru/event/221997/