By Anna Lawton
First released in 2003. Routledge is an imprint of Taylor & Francis, an informa corporation.
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Additional info for The Red Screen: Politics, Society, Art in Soviet Cinema
47 It had started at 52,000 and risen in stages in the intervening years. Selling films abroad on credit was a standard way of dealing for capitalist film firms around the world. The German companies were not making any particular concessions to the Soviets in that sense. The main initial problem was overcoming the sense in Germany that extending credit to Russian firms would be unusually risky. But, as mentioned earlier, a number of small firms did take that risk, and the benefits for the German and Soviet industries were mutual—though assuredly the issue was far more crucial for the Soviet side.
14, no. 28 (9 July 1921), p. 24. Nikolai Lebedev, Kino: Ego kratkaia istoriia, ego vozmozhnosti, ego stroitel’stvo v sovetskom gosudarstve (Moscow: State Publishers, 1924), p. 97. de Gourland, “La cinématographie en Russie”, Cinémagazine, vol. 4, no. 25 (20 June 1924), p. 497. René Marchand and Pierre Weinstein, L’Art dans la Russie nouvelle: le cinéma (Paris: Les Éditions Rieder, 1927), pp. 96–7. Lebedev, Kino, pp. 159–60; Marchand and Weinstein, L’Art dans la Russie nouvelle, p. 151. , pp. 97–8.
11, no. 19 (27 April 1918), p. 13. “Der Export nach Russland”, Lichtbildbühne, vol. 11, no. 38 (27 September 1918), pp. 17–18; Taylor, Politics of the Soviet Cinema, p. 48. , p. 50; Alec Nove, An Economic History of the USSR (Harmondsworth: Penguin, 1969), p. 87; Leyda (Kino, pp. 146–7) describes how the Russ collective members making Polikushka in the winter of 1919–20 worked for shares of the potential profits and paid additional actors with potatoes. Fischer, Soviets in World Affairs, pp. 282, 294.