"THE KINO-PROCESS AFTER THE DEFAULT (1999-2008): RESULTS AND LESSONS"
This year marks the tenth birthday of the launch of the first issue of the journal “Kino-Process”. Its presentation took place at “Kinotavr-99”, in the year following the default of August 1998, which had a deafening effect in our country. Here comes a new decade, a new stage of development in the history of our journal and (after the global financial crisis which erupted in December last year) in the latest history of Russian cinema.The time has come for a ‘replay’, where we can look back and analyze all the memorable events of the period 1999-2008, when we can pose to ourselves AND others some crucial questions. For this round table, which traditionally takes place at the festival with the participation of our journal, we have formulated these questions as follows:What do you remember about 1998? How unexpected were the events linked to the default? How were they reflected in your creative and professional activity, in your planning?The last decade: did it see a genuine rise of the film-industry or merely its imitation? Which events of this period relating to cinema life, films, and people are most important to you? Do you have any suggestions for dividing this decade into sections?Distribution, television, state support, public opinion, festival and international life - which factors were a decisive influence on the cinema of this time? What has determined your creative and professional career to a larger or smaller extent during this period?How ‘useful’ can a crisis be? Do you see any parallels between what happened in Russian cinematography after 1998 and what is happening now? How do you assess the present situation of the film industry? The crisis as ‘external’ (economic) and ‘internal’ (cinema matters): how do these concepts connect to each other?Where do we go today in the production of Russian cinema: “to the West”, in search of international integration, or “to the East”, in a new attempt of expanding our area of distribution? What, in your opinion, should be done first of all to improve the Russian film industry today?
Editor-in-chief of the journal KinoProcess
"FESTIVALS AS A PLATFORM FOR CO-PRODUCTION"
The development of modern cinema in the age of globalization becomes more and more complex. In the present economic crisis it becomes even more difficult to finance art-house projects.At the same time, right now a solution appears to lie in a low-budget cinema saturated with original creative ideas. In order to unite all components of such projects, a launch pad is needed; more and more often this role is adopted by international film festivals, such as Rotterdam, Cottbus or Sofia. The most interesting ideas are born today on the meeting point of different cultures and production traditions. International co-production follows on from a practical approach adopted by many festivals, who do not wish to becomes ghettoized and prefer participation in the practicalities of cinematic life.This round table is organized with the participation of leading figures of the festival movement, creative staff and producers. The purpose is to analyze the latest tendencies in international film-cooperation.
President of FIPRESCI
"HOW WE PREPARED THE CRISIS IN CINEMA"
The round table of the journal “Iskusstvo kino” is devoted to the nature of the present crisis in domestic cinema. In the opinion of the organizers of this discussion, the problems of Russian cinema have a long-term history and are determined by many basic factors: an erroneous investment policy, the absence of genuine proportions between the production of blockbusters, mainstream and art-house cinema, a creative crisis of filmmakers, the gradual generational change among filmmakers, the consequences of the television serial boom, an outdated set of priorities for state support in this sphere, and many others. In discussing the present situation, we propose not only to ascertain and analyze the reasons for the current state of affairs, but also to search for a way out of the situation in which our cinema finds itself today. In particular, the prospects of an increase in state financing, the opportunity for co-production, the transition to a model of state commissioning, positive or negative consequences of the appearance of domestic majors, the idea of the creation of a state corporation, and others. Today there is no more vital topic.
Editor-in-chief of the journal Iskusstvo kino