The formation of the cinematography of Khakassia from 1930 to 1953.

Tuguzhekova Valentina Nikolaevna ORCID: 0000-0001-6347-0710 Doctor of History Professor; Department of History; N. F. Katanov Khakass State University 655017, Russia, Republic of Khakassia, Abakan, ul. Kirova, 102, sq. 63 vtuguzhekova@yandex.ru

Alehin Fedor Vital'evich ORCID: 0009-0005-0952-1018 Postgraduate student; Institute of History; Katanov KSU 655009, Russia, Republic of Khakassia, Abakan, Komarova str., 7b, sq. 162 super8766@gmail.com

Introduction

Cinema is an important part of society's life and reflects its mood. The development of cinematography allows you to communicate more skillfully with the audience and convey the director's idea and the meaning of the film. The development of cinematography depends on the state of cinematography. Filmification (lat. facere to do) a system of activities aimed at the construction of cinemas, the creation of mobile film installations, the continuous improvement of film equipment and the improvement of the conditions and quality of the demonstration of films. This article examines the process of formation and development of cinematography in (1930-1953). The lower chronological boundary is due to the fact that in 1930 the Khakass Autonomous Region was formed, and in 1953 the end of the “Stalinist period”. The article discusses: 1) the situation of the material and technical state of cinematography in 1930-1941. 2) the main trends in the development of cinematography during the Great Patriotic War; 2) the development of cinematography in the post-war period.

The formation of Cinematography in the Khakass Autonomous Region in the 1930s - 1940s.

By 1930, the film industry of Khakassia had just begun to develop actively. In Khakassia in 1930 there were 16 film installations, including 7 stationary ones ^[12]. The difficult state of the material and technical base led to the fact that in 1931 4,938 film screenings were held throughout Khakassia. Comparing the Krasnoyarsk Territory and the Khakass Autonomous Region (hereinafter KHAO) before 1934, it can be clearly stated that there was a lag in material and technical support. If in the Krasnoyarsk Territory 1 cinema installation served 12.4 settlements, then in the KHAO 1 cinema installation provided 14.5 settlements. This load depleted the hardware of the cinematography. Film installations often went out of order, broke down ^[1]. If in 1930 there were 7 stationary film installations in the KHAO, then in 1931 there were only 4 stationary film installations ^[9]. Another important indicator is the number of sessions conducted. In 1931, 4,938 film screenings were held throughout the KHAO. Such a number of film screenings provided 13 film shifts and 4 stationary installations. Most of the film screenings were in the Bogradsky district (1260), as there were 4 film installations (1 stationary and 3 mobile) ^[3]. It was during this period that the active cinematography of the region began.

In the following years, the Roskino network in the KHAO was actively developing. In 1931 they had 2 stationary installations and 15 mobile units, in 1932 4 and 13, respectively. In 1933, the first equipment capable of reproducing sound films appeared in the HAO. In the Roskino system at the beginning of 1931 there were 1 stationary and 2 mobile sound film installations. In the process of cinematography, one of the key tasks was to ensure access to cinematographic resources for the maximum number of collective farms, machine and tractor stations and rural settlements.

The second half of the 1930s is characterized by an improvement in the material and technical base and personnel. In the 1930s, proficiently educated cadres began to appear. The state of the material and technical base in the second half of 1936 can be described as developing. At the time of 1936, 37 film cameras were operating in the Khakass Autonomous Region, of which 2 sound and 8 mute hospitals, 2 sound and 23 mute film transmissions, and by 1937 there were already 11 sound hospitals, 3 sound film transmissions and 25 mute ^[8]. For comparison, in neighboring Tuva in 1937 there were 28 film installations, and in the Chkalov region there were 110 film installations ^[10].

However, with the improvement in the situation with the material and technical base and the emergence of proficiently educated personnel, the main problems were not fundamentally solved. By the end of the 1930s, the numerical and professional shortage of personnel and the inability to maintain and repair equipment reduced the productivity of the film department. With the overall increase in film installations, the possibility of their maintenance and repair remained minimal. The report of the Khakass regional Directorate of Cinematography for 1939 provides the following statistics: only 50% of non-sound film projectors were fully operational. 6 sound movements and 2 mute movements were not in working condition. The planned indicators were not fulfilled (5,168 out of 7895 sessions were conducted). Only the Gorkin Theater was able to exceed the plan. This was achieved due to a large increase in working days (instead of 15 working days per month, they worked January, February, March completely) ^[2]. Problems were also noted in the cinematography of villages. There was often no electricity and the cinema installations could not work. There was not enough fuel for the film movements. The lack of qualified personnel led to the fact that projectionists disabled both the equipment for showing films and the films themselves. There was no cinema workshop in the region, where they could quickly repair equipment that had failed. In 1939, out of 4 sound film transmissions, only 2 actually functioned. The delivery of films was also a big problem. Of the 185 collective farms and state farms, only half were regularly provided with film distribution. The other half suffered from the lack of premises, means of transportation and fuel ^[7]. The only exception was the Bogradsky district, where film distribution was regular.

The main movie lovers have always been children. In the 1930s, the lack of special children's paintings remained a big problem, so children were shown such films as: "Man with a Gun", "Chapaev", "Lenin in October", etc. So, during the reporting period, the session plan was not fulfilled, but the visit plan was greatly exceeded (by 18 thousand). This was mainly achieved due to the attendance in the villages.

Another important problem was the delivery of films. Due to the lack of a direct agreement between Khakassia and Soyuzkinoprokat, films had to be ordered through Krasnoyarsk. This led to frequent delivery failures and other errors. Films were often delayed or not sent at all. So, due to the delay in the shipment of films, the cinema in the village of Shira was idle for 10 days. In Tashtyp, the film “Enemies”, for which posters were hung and advertised in newspapers, never reached cinemas. After the logical question of why the film was not sent, the answer came: “The film is not suitable for celebrating Constitution Day.” There were problems with sending films as well. The film "Annenkivshchyna" was sent to the Baysky district twice, in November and December. There have been precedents for sending incorrect films. So, with a delay of a week, the film "Last Night" was sent to the Baysky district instead of the film "Daughter of the Motherland" ^[3].

The state of cinematography in Khakassia in the late 1930s can be described as problematic. On the one hand, the material and technical base improved, on the other hand, there was a shortage of personnel and the lack of professionalism of existing ones. There was no cinema workshop. Many film installations were out of work, there was a problem in the delivery of materials, films, etc.

In the pre-war period (1930s), film production in Khakassia was characterized by a number of key aspects reflecting both positive dynamics and existing problems.

• Expansion of the network of film installations: In the early 1930s, Khakassia saw a significant increase in the number of film installations due to the centralized policy of cultural infrastructure development initiated by the Soviet government. This led to an increase in the number of film screenings, which contributed to the spread of cinema among the general population.
• Technical and personnel constraints: Despite the progress in cinematography, the main obstacles remained a lack of equipment and a shortage of qualified specialists. Logistical problems led to frequent failures in the operation of film installations, which reduced the availability and quality of services provided. The lack of specialists in the maintenance of new sound devices also made it difficult to switch to sound cinema.
• Socio-cultural significance: Films were perceived not only as entertainment, but also as an important tool of political propaganda and cultural education. Cinema has become a means of forming public consciousness, introducing Soviet ideals and values into society.
• Continuous challenges: The pre-war period also highlights the existence of systemic problems such as economic instability, the impact of social and political changes. The main challenges required an integrated approach to solving the issues of staffing and infrastructure modernization.

Thus, the pre-war period of cinematography in Khakassia became a time of active formation of cinema as a social and cultural phenomenon, but at the same time emphasized the need to solve existing problems to ensure the full functioning of the film industry.

Cinematography during the Great Patriotic War.

By 1941, film production in the HAO was at the same level. There was also a shortage of projectionists, there was a lack of fuel, and show schedules were often disrupted. The report of the Department of Cinematography of the Khakass Autonomous Region indicated that 6 sound projectionists and 4 silent projectionists were missing for work. The lack of buildings for the production of films remained an urgent problem ^[7].

By the beginning of 1941, in addition to the functioning summer cinema in Abakan, it was decided to build a new winter cinema. In addition, several important projects in the field of cinematographic infrastructure were planned. The idea of building a new winter cinema was back in the 1930s. In 1939, the Presidium of the Abakan City Council of Workers' Deputies raised the issue of allocating funds for the construction of a summer cinema in Abakan. In the same year, a site was set aside for the construction of a stationary cinema ^[3]. With the beginning of the Great Patriotic War, it was decided not to stop the construction of the cinema. The lack of funds and manpower led to the fact that the cinema was actually commissioned in an unfinished state, and it was put into operation only on December 26, 1944. According to the staffing table of the Abakan city cinema Pobeda in 1945, there were 23 people on staff ^[3].

The difficult military situation affected not only the construction of new cinemas, but also the operation of old ones. Thus, the report of the departmental trade union organization for the 2nd, 3rd and 4th quarters of 1943 presents the following data: the number of installations decreased by 34%, the number of working days - by 15.6%, the number of sessions — by 15%, the number of viewers — by 23%, and the gross collection decreased by 3%. However, various taxes and deductions increased to 504%, the state tax increased by 53%, and profits decreased by 26% ^[6]. An illustrative example is the data on visits to cinemas in the city of Abakan for 1942. The average price for a city cinema was 1-90 rubles. adult ticket, 0-65 for children ^[1], the capacity for 1 session of 1 cinema installation in a city cinema was 320 people. The average number of sessions per day was 3 for adults and 0.5 for children ^[4].

Analyzing this data, we can come to the following conclusions: 1) the lack of projectionists and equipment led to the failure of film installations and, consequently, to a decrease in all indicators 2) Wartime required more funds for the defense of the country, state deductions and taxes increased, which made funds for the maintenance of cinemas less and less.

In 1944, at a meeting of the bureau of the Khakass regional Committee of the CPSU, it was noted that the service of films to the districts of the region was unsatisfactory, especially during the harvest and harvesting of agricultural products. The regional Department of Cinematography, under the leadership of Chief Prosyannikov, did not ensure the normal operation of film installations in the districts. In Askiz and Shirinsky districts, due to technical problems, the film transmissions did not work for a long time. The movements in the Bogradsky, Altai and Tashtypsky districts worked extremely poorly. In the Bogradsky, Shirinsky and Tashtypsky districts, a situation was observed when projectionists were mobilized to perform agricultural work, as a result of which the film gears did not work. The technical support provided to projectionists by the film certification authorities was insufficient for full and trouble-free functioning.

The Khakass film distribution department also poorly supplied the cinema installations of the districts with films. In 8 months of 1944, instead of the planned 745 films, only 610 films were received. The repertoire of the existing film fund was not updated in a timely manner and the technical suitability of the films was very low.

The regional communications office under the command of T. Uletski did not provide regular delivery of films to the districts of the region. As a result, a significant number of films have been lying in the warehouses of the film distribution department for a long time, and film distributors in the districts are forced to stand idle due to the lack of motion pictures ^[6].

It is necessary to note the work of cinemas in the last year of the war. In the plans set for 1945, it was expected to receive 830 thousand rubles with rental funds, increase the intensity of use of film funds by 108 screen days per copy, increase the output of programs for 1 stationary cinema installation 96 copies, and for 1 mobile 24 copies, increase the coefficient of provision of cinema installations with a fund of 2.5 copies per 1 installation. The actual figures reached 92% of the plan (746 thousand) for the funds collected, the intensity of the screening was 120 days per 1 copy, 84 copies were issued for 1 stationary cinema installation and 24 copies for a mobile one, and the coefficient was 1.8 copies per 1 cinema installation. In addition, the average annual percentage of the technical shelf life of the sound film fund was 84%, mute 62%. But, the problems did not end there. The report mentions 14 damaged installations, 13 lost copies of movies and 3 burned. However, there were also positive aspects. The film fund received 29 new titles (new films) and 42 copies of the films were sent ^[4].

The main factors influencing the unsatisfactory result (failure to meet targets by 8%) were: idle time of the Pobeda cinema for 1.5 months due to repairs, insufficient efficiency of the state network in the region, frequent downtime of film installations in Shira, Bograd, Sharapovo, Tashtype due to the need for equipment repairs and delays in delivery the necessary details. There was also a high intensity of use of the film fund: 12 screen days for each copy, which led to the need to send all copies to film installations on the same day they entered the film fund, and to mobilize the entire staff to repair copies. The lack of a film fund was felt throughout the year, and an incompetent attitude to the storage and use of copies and film installations led to damage or destruction of several films and film installations ^[5].

The problem with professional personnel and their numbers persisted in 1945. The report on the work of the Khakass regional department of cinematography notes that there are only 8 heads of regional departments, and Ust-Abakan district does not have a chief due to the lack of premises for work. District organizations approved 4 heads in Askiz, in Saral, in Tashtyp, who had to be replaced due to the fact that they did not correspond to the competencies of the position of the head of the district Department of cinematography ^[3]. There were 21 projectionists, of whom 12 were able to work on sound film installations and 9 on mute ones. Despite the fact that all projectionists working on silent film installations and 3 mechanics working on sound film installations did not have special education ^[3].

The cinematography of the Great Patriotic War period was characterized by the difficulties and severity of wartime. The war caused problems for the development of cinemas, improvement of the material and technical base and logistics. However, the construction of cinemas continued. Of particular importance is the construction of the Pobeda cinema in Abakan. Construction, which began in 1941, was finally completed in 1951 (although the commissioning took place in December 1944).

Considering this period, we can come to the following conclusions:

1. The state of the film infrastructure: During the war, there was a significant deterioration in the material and technical base of the film industry. A shortage of projectionists and outdated equipment led to failures in the operation of film installations, which negatively affected the total number of sessions and the availability of films to the public. The capacity of the cinemas did not meet the necessary requirements, and the lack of regular maintenance exacerbated the problem.

2. Financial constraints: Wartime required the redirection of government resources to defense, which led to a reduction in funding for cinemas. The increase in tax deductions and deductions for the needs of the army did not allow for the full functioning of film funds, which affected the quality of the films provided and the overall film quality indicators.

3. Cultural and social significance of cinema: Despite the difficulties experienced, cinema retained its social function, providing the local population with important information and entertainment. Films reflecting military-patriotic themes helped to increase morale and unity among the residents of Khakassia. The screening of films about patriotism and the struggle of the Soviet troops made the audience feel their involvement in the common cause.

4. Staffing problems: The reduction in the number of qualified professionals in the film industry has also had a significant impact on the process of film certification. In 1946, only 98 people worked in the region, which limited the possibilities for improving the operation of film installations. However, in the following years, the measures taken to train and improve the skills of personnel made it possible to gradually overcome the problems that arose.

5. Long-term consequences: The problems that arose during the war had a noticeable impact on the further development of the cinema network in Khakassia. Despite the increase in the number of film installations to 49 by 1951, the level of cinematography remained below the required standards, which required further efforts to rehabilitate and develop this area.

Thus, the process of cinematography in Khakassia during the Great Patriotic War turned out to be subject to significant challenges, which affected both the technical condition of the film infrastructure and the maintenance of the cultural function of cinema in wartime conditions.

Cinematography in the post-war period

In the post-war period, the restoration of the national economy in the country began. These processes were also inherent in the cinematography. However, cinematography was not a priority goal, so the recovery was extremely slow. It should be clarified that the saturation of the region with film installations went on as planned. By 1946, many film installations were inoperable. In fact, there were only 19 film installations in working order (including stationary ones in cinemas and film installations). A big problem persisted due to the lack of workshops for repairing film installations. But due to the repair and the appearance of new film installations, the process of cinematography was restored. In 1951, the number of film installations reached 49. One of the most iconic cultural institutions of the KHAO can be called the Pobeda cinema in Abakan. However, problems remained, so it is necessary to highlight the technical condition of the Pobeda cinema. In fact, in 1944, not the entire building was put into operation, but only an auditorium with 500 seats, a lobby, a boiler room, and a cinema room. The office premises located on the second floor were rented without glazing.

The second big problem was the staffing of the industry. In 1946, the staff of the film production in the HAO was 98 people, 30 of whom worked in Pobeda. At the same time, the qualifications of the staff were unsatisfactory. In the following years, the situation improved. Various activities were carried out to improve the skills of employees. They were sent to courses, meetings of film workers of the KHAO were held; technical and political mass studies were conducted in the districts every month, at which the results of each mechanic's work were summed up.

There were other problems, such as delayed sessions, unavailability of premises, lack of tickets, work for a full year (in 1946, the cinema was open for 180 days).

The rural cinema network had similar problems. All of them have been dragging on since the 1930s, namely: high turnover and lack of personnel, a small number of adapted rooms, a small repertoire, and a lack of equipment. A small number of specialized rooms were solved by placing them in clubs and reading rooms, but there were often situations when there was nowhere to place a film transfer that arrived. In winter, there was a problem with heating the premises. Another important problem was the critical shortage of transport (cars, horse-drawn vehicles), as well as fuel. To help with the problem of transport at the film department, the collective farms provided their own transport. The main reason for the problems with filling the film fund in the HAO was the need to order films through Krasnoyarsk, and not directly from Moscow. Also, late delivery of films led to disruptions of the sessions.

The situation in 1945 remained difficult. The reports of the Khakass film department indicate that in 10 months of 1945 the plan was not fulfilled, the reasons for the non-fulfillment of the plan were called: inability to work on a daily basis, lack of manpower, etc. To combat the lack of premises, collective film screenings at various enterprises were used. The report for 1949 indicated a case when, in order to increase visits to the head of Goravtotrans, T. Kulikov and T. Grishchev (director of the Pobeda cinema), they were obliged to organize collective screenings of films. The leadership of the Khakass film department planned to pay special attention to residents of remote areas of the city. For this purpose, new routes and timetables for buses have been developed ^[11].

It should be noted that the systematic non-fulfillment of plans and targets was associated with another problem, namely, overstated plans. Thus, the financial plan of 1947 turned out to be unfulfilled by 40 million rubles. The head of the 1st All-Union Central Council of Trade Unions, G.A. Gornov, even had to be fired, according to the wording, he "failed to improve the work of the Glavkinoprokat." In subsequent years, the film distribution often did not fulfill its revenue objectives.

The Great Patriotic War and the post-war years were difficult for the Khakassia cinema network. During the war, there was a shortage of personnel and fuel, which led to disruptions in the implementation of plans. After the war, there was a slow growth of the cinema network. However, by 1951, the number of film installations had increased to 49. The problems that arose during the war had a significant impact on the development of the cinema network, slowing down its pace.

The film industry in Khakassia in the post-war period was aimed at restoring the film industry and solving structural and personnel problems. The restoration of the cinema network became a priority, however, despite the increase in the number of film installations, the quality of service remained low due to lack of funding and equipment, which hampered development.

There was also an acute shortage of qualified personnel. The low level of training of projectionists had a negative impact on the quality of the film installations. Many specialists did not have sufficient skills, which emphasized the need for professional development.

Cinema continued to perform an important social function, offering cultural events and strengthening the morale of the population. The increased interest in films reflecting patriotic themes contributed to the consolidation of society.

Lack of funding remained one of the main problems, limiting the normal operation of cinemas and making it difficult to purchase new films and upgrade equipment. As a result, film production in post-war Khakassia faced many challenges that require an integrated approach to achieve sustainable development of the local film industry and improve cultural leisure of the population.

The film industry in Khakassia from 1930 to 1953 went through significant transformations and difficulties. In the early 1930s, cinematography started actively: in 1931, thousands of film screenings were already held in the region using film slides and stationary installations. However, in the early years, one of the main challenges was the need to modernize the material and technical base for the transition to sound films, which was carried out gradually throughout the 1930s.

In the second half of the 1930s, there was an increase in the number and improvement in the quality of film installations, which was accompanied by the appearance of the first specialists with specialized education. However, the development continued to be affected by staffing deficiencies and the difficult economic situation. Despite the increase in the number of film installations, problems remained with their maintenance and repair, which reduced the efficiency of the cinema system.

During the Great Patriotic War, cinematography faced serious difficulties. The war required the mobilization of significant resources for defense, which limited the ability to support the film industry. Nevertheless, cinema continued to perform important social functions: film screenings helped to maintain the morale of the population.

After the war, work began on the restoration and further development of cinematography, but the process was slow due to limited financial resources and a shortage of specialists working with new sound technology. By 1951, the number of film installations had increased, but this was not enough to meet the needs of the population.

Throughout the period, despite significant challenges, film production in Khakassia continued to develop, playing an important role in the cultural and social life of the region. The gradual increase in the number of film installations and the measures taken to improve the educational level of personnel formed the prerequisites for further strengthening of this area in the following decades.