RUSSIAN CINEMATOGRAPHY OF NEP PERIOD IN THE TERMS OF STATE AND PARTY CONSTRUCTION

The article shows the main trends in development of cinematography as the area of public administration. The work traces the features of transition of film production and distribution of films from the "military communism" to the NEP and from the NEP to the formation of administrative-command system. The author comments on the basic government acts regulating the film industry, as well as V.I. Lenin's documents and statements about the screen art. The paper presents an analytical review of the majour actions of the Communist Party of the Soviet government in the area of the screen art, and evaluation of the sociological situation around the screen art in the mid 20-ies of the previous century. The work reveals some biographical facts of great masters of the screen, in one way or another connected with the political situation in the Russian Federation and later in the Soviet Union. Some real facts and evidence help to trace the development of democratic institutions in the movie; it recalls the activities of the "Labour Union of Revolutionary Cinematography" and "Society of Soviet Cinema Friends". Other feature of that time is expressed through the fact that the fate of the "tenth muse" was affected by such prominent Bolsheviks as V.I. Lenin, F.E. Dzerzhinsky, Y.E. Rudzutak, N.K. Krupskaya and others. Special attention is given to the decisions of the Party Congresses, the decision of the Central Committee of the RCP(B) "About Party Policy in Literature", debates and resolutions of the Party meetings about the cinema. All these acts form the social climate around screen art within the NEP period.

Break with the pre-revolutionary cinematography takes place not only in the ideological area but also in the development of industrial methods of the twentieth century. On the one hand, authority of RSFSR People's commissariat for education was not enough for the screen art; on the other hand, cinematography got poorly accustomed to the cinema department of Supreme Economic Council, which considered the movie industry as only one of the sources of financial gain, or in the best case – the form of industrial propaganda.

At the present time, the most relevant model is the model of cinema transition from government regulation to the market and then return to the non-market economy. To some extent, similar evolution takes place in nowadays cinematography and other screen arts.