The literary sin: the transition from modernism to socialist realism in the soviet cinema 1920-1930's

The article problematized the interaction of literature and cinema in the Soviet Union of 1920-1930, dotted outlined the way in which the Soviet cinema came from aggressive rejection of any literary forms to severely restrict cinematic specificity for the sake of literature. In cinema the transition from modernism to socialist realism (from the showing abstract images of the revolution to the story of the particular manifestations of ideology) occurred in two planes. At first, the film loses its cinematic specificity, by simplifying of ways of filming and editing, - this process was made in the formalism’s liquidation. Secondly, during the development of the sound cinema the art world concentrates around speech - this process was related with fixing literature in the center of the cultural and political life of the USSR. Soviet cinema of the 1930s clears cinematic language to turn it into a semantically-neutral mirror, which must reflect the socialist reality. The aim of the Soviet cinema in the 1930s was the organization of the film around the speech of the characters, broadcasting a party’s position on the backdrop of the clashing ideological manifestations. The material of the research is based on the critical and theoretical notes, party’s decisions, polemical pronouncements, memoirs of the contemporaries and later scholars’ thoughts.