ABSTRACT

This article examines the phenomenon of colour-film animation at Lenfilm during the period 1936–1941. It discusses the development of colour technologies at the studio during the 1930s and the ways in which its artists responded to the aesthetic challenge of colour. Three of the seven short films produced during this period have been selected as case studies; they are examined here in the context of filmed animations in the Soviet Union during the 1930s, in particular the debates prompted by the screening of three Disney animations in Technicolor at the Moscow International Film Festival in 1935. The formal analysis of the case studies is based on the digital restorations in recent years at the Russian State Film Archive (Gosfilmfond), but also the inspection of one nitrate-positive of Mstislav Pashchenko’s Dzhiabzha (1939), which has survived intact at the archive. The technical difficulties posed by the hydrotype process developed at Lenfilm, as well as the challenge of producing sufficient prints for mass distribution, also form part of the discussion.

摘要

本文研究了1936–1941年期间Lenfilm上的彩色电影动画现象。它讨论了1930年代工作室在色彩技术方面的发展以及其艺术家应对色彩美学挑战的方式。在此期间制作的七部短片中，有三部被选为案例研究。在1930年代苏联动画电影的背景下对它们进行了检查，特别是在1935年莫斯科国际电影节上以Technicolor放映了三种迪士尼动画而引发的辩论。对案例研究的正式分析是基于俄罗斯国家电影档案馆（Gosfilmfond）近年来的数字修复，以及对Mstislav Pashchenko的Dzhiabzha的一种硝酸盐阳性检查（1939），在档案馆中保存完好无损。Lenfilm所开发的水版印刷工艺所带来的技术难题，以及为质量分配生产足够的印刷品所带来的挑战，也构成了讨论的一部分。