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The present sample is a central chapter of my PhD thesis in course of preparation devoted to the documentary shootings were held by a group of cameramen in besieged Leningrad . A unique status of the collective of the United Studio of documentary films (1942-1944) between frontline journalists relatively autonomic to film and the operators strongly attached to the power, who stayed in one place like Moscow or Alma-Ata, place of evacuation of the «best people» of the cinema, led to the creation of the catalogue of the «cinematographic archive of the blockade » shootings (Natalia Arlauskaitė’s notion). Furthermore, before this studio was created, during the so-called «death period» of blockade between December 15, 1941 and end February, 1942, the operators worked on their own account (in the lack of permanent electricity support, and at the time when no film structure functioned). Consequently, through the creation of a new structure where these shots were developed.Aesthetiсs of these crucial shots, basic for the films on the blockade is strongly depending on the history of this studio and on all the complex of questions around it (institutional questions: interactions with the Committee of the cinema in Moscow; technical questions: search of the shooting materials in besieged Leningrad, possibilities to work with light; personal: strategies to survive for the operators in the lack of nutrition, relations with the military, etc.). Following the microhistorical approaches after Carlo Ginzburg’s works we analyse this collective as a closed organism with all its internal relationships, and also we observe it as a part of the history of the « Petersburg text » (notion of Vladimir Toporov) revealed during the blockade and as a part of the Soviet cinema in general

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Mariia Golik (France) 10859
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