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Remembering the Space Age. - Black Vault Radio Network (BVRN)

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254 reMeMBerING <strong>the</strong> SpaCe aGe<br />

“Of all <strong>the</strong> arts, for us <strong>the</strong> most important is cinema.” 1 Whe<strong>the</strong>r Lenin<br />

referred to <strong>the</strong> propaganda potential of <strong>the</strong> media or its ability to satisfy <strong>the</strong><br />

country’s need for entertainment is unclear. None<strong>the</strong>less, during <strong>the</strong> course<br />

of rebuilding <strong>the</strong> country after war and revolution, <strong>the</strong> new Soviet state went<br />

to great efort and expense to develop this young art form. two of <strong>the</strong> earliest<br />

and most artistically innovative flms of this era featured space travel and<br />

were adaptations of a Soviet science fction novel that promoted <strong>the</strong> idea of<br />

interplanetary socialist revolution. 2 <strong>the</strong> reopening of Soviet cinemas and <strong>the</strong><br />

frst portrayal in spacefight in flm coincided with <strong>the</strong> cinematic production of<br />

aleksei tolstoy’s Aelita in 1924. Months later, a team of animators created <strong>the</strong>ir<br />

own version of tolstoy’s tale, replicating <strong>the</strong> ambitious tone of revolutionary<br />

fervor of <strong>the</strong> time. By <strong>the</strong> end of <strong>the</strong> decade, Stalin had redirected that fervor<br />

internally towards transforming <strong>the</strong> u.S.S.r. into an industrialized country.<br />

Ideologically, transforming nature and political loyalty replaced <strong>the</strong> concept of<br />

exporting revolution. Man and machine traveling through space matched <strong>the</strong><br />

prevailing political metaphor of <strong>the</strong> time of man using technology to master<br />

nature. Science fction that emphasized man’s ability to engineer mastery over<br />

nature and political and personal loyalty gained favor during that brief period<br />

when ofcials tolerated speculative literature.<br />

1. translated and quoted in: The Film Factory: Russian and Soviet Cinema in Documents, 1896-1939,<br />

1988, trans. richard taylor, ed. richard taylor and Ian Christie, paperback (London:<br />

routledge, 1994), p. 56 from <strong>the</strong> original citation in G. M. Boltyanskii (ed.), Lenin i kino<br />

(Moscow/Leningrad, 1925), pp. 16-19. although many historians cite Lenin’s quotation,<br />

<strong>the</strong>re is thin evidence that Lenin actually said precisely those words. In <strong>the</strong> introduction to<br />

Josephine Woll’s book on <strong>the</strong> cinema of <strong>the</strong> thaw era, richard taylor describes <strong>the</strong> quote<br />

thus, “Cinema has been <strong>the</strong> predominant popular art form of <strong>the</strong> frst half of <strong>the</strong> 20th century,<br />

at least in europe and North america. Nowhere was this more apparent than in <strong>the</strong> former<br />

Soviet union, where Lenin’s remark that ‘of all <strong>the</strong> arts, for us cinema is <strong>the</strong> most important’<br />

became a cliché and where cinema attendances were until recently still among <strong>the</strong> highest<br />

in <strong>the</strong> world.” Josephine Woll, Real Images: Soviet Cinema and <strong>the</strong> Thaw, Kino: <strong>the</strong> russian<br />

Cinema Series, ed. richard taylor (London: I. B. tauris publishers, 2000), p. vii. denise<br />

Youngblood casts doubts on whe<strong>the</strong>r Lenin actually made <strong>the</strong> statement, but does support<br />

<strong>the</strong> idea that Lenin had <strong>the</strong> intention to promote cinema as a means to propaganda, denise J.<br />

Youngblood, Movies for <strong>the</strong> Masses: Popular Cinema and Soviet Society in <strong>the</strong> 1920s (Cambridge,<br />

uK: Cambridge university press, 1992), p. 35. peter Kenez discusses <strong>the</strong> likelihood that<br />

<strong>the</strong> words were consistent with Lenin’s actions, peter Kenez, Cinema and Soviet Society: From<br />

<strong>the</strong> Revolution to <strong>the</strong> Death of Stalin, Kino: <strong>the</strong> russian Cinema Series, ed. richard taylor<br />

(London: I. B. tauris publishers, 2006), p. 22.<br />

2. <strong>the</strong> two flms were adaptations of aleksei tolstoy’s novel, Aelita. aleksey Nikolayevich tolstoy,<br />

Aelita, trans. antonnia W. Bouis, ed. <strong>the</strong>odore Sturgeon, Macmillan’s Best of Science Fiction<br />

(New York, NY: Macmillan, 1981). <strong>the</strong> frst was Yakov protazanov’s flm by <strong>the</strong> same name:<br />

Yakov protazanov, Aelita:Queen of Mars,Kuinzhi,Valentina;tseretelli,Nikolai;eggert,Konstantin;<br />

Solntseva, Yulia; Zavadsky, Yuri; Ilinsky, Igor; Batalov, Nikolai (Mezhrabpom-rus, 1924), 120<br />

minutes.<strong>the</strong> second was an animated version: Nikolai Khodataev, Zenon Komisarenko, and Yuri<br />

Merkulov, Mezhplanetnaia revolutsiia (Interplanetary Revolution), animation (Biuro gosudarstvenno<br />

tekhnicheskogo kino, 1924), 7:40 min.

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