The journal’s second issue for 2020 is, if you will, a ‘home version’, since most of us involved in the production (editors, production managers and copy editors) are now working from home, in different parts of the world. Please all stay safe! This issue contains the winning articles from a competition that we ran for postgraduate students and staff at the St Petersburg University for Film and Television (GUKiT), which has been fabulously supported and managed by the staff of the Film Studies Department, to whom I extend my thanks. The winning articles from this competition, Polina Stepanova’s investigation of body techniques in early Soviet cinema (staff competition) and Elizaveta Prokhorova’s comparison of Renata Litvinova’s script Non-Love to Valerii Rubinchik’s 1991 screen version (postgraduate competition) are published here; I should like to congratulate themboth to this achievement, and thank the competition jurors for their time and support. Moreover, the issue includes a publication on Valeria Gai Germanika by Angelika Artyukh and Justin Wilmes, which identifies some key features in this young and talented filmmaker’s work for television and for the silver screen. Finally, Ekaterina Chelpanova provides a close analysis of the expression of emotions in two films of the Thaw, Kalatozov’s The Cranes Are Flying and Zarkhi’s Anna Karenina. In the document section, this issue presents some intriguing materials from the Helsinki Museum of Technology, prepared for publication by Ira Österberg from the Aleksanteri Institute and by Emilia Västi, a curator at the Museum of Technology in Helsinki, whom I both wish to thank for the preparation of this material. The publication concerns a little known figure, the engineer and inventor Eric Tigerstedt, who was among the pioneers of sound recordings on film in the early 1900 s and whose fate – like that of so many inventors of those years – was doomed by the war, displacement, and a life on the brink of bankruptcy. Nevertheless, Tigerstedt made a number of discoveries that go way beyond the recording of sound on the film band (optical sound), but remained without commercial success, although they were patented to his name. Studies in Russian & Soviet Cinema encourages submissions on any aspect of Soviet, post-Soviet and Russian cinema or visual culture. We operate a system of double blind peer-review; submissions should be original (i.e. previously unpublished, and that includes publication in another language) and will be considered at any time throughout the year. They should be sent to the editor at birgit.beumers@gmail.com. I should like to take this opportunity to thank the journal’s production team, as well as my editorial and advisory boards.

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社论

该杂志 2020 年的第二期是“家庭版”，因为我们参与制作的大多数人（编辑、制作经理和文案编辑）现在都在家工作，在世界不同的地方。请大家注意安全！本期包含我们为圣彼得堡电影电视大学 (GUKiT) 的研究生和工作人员举办的竞赛的获奖文章，该竞赛得到了电影研究系工作人员的大力支持和管理，我向他们表示感谢我的感谢。本次比赛的获奖文章、Polina Stepanova 对早期苏联电影中身体技巧的调查（工作人员竞赛）和 Elizaveta Prokhorova 将 Renata Litvinova 的剧本 Non-Love 与 Valerii Rubinchik 1991 年的银幕版本（研究生竞赛）进行比较；我要祝贺他们两人取得这一成就，并感谢比赛陪审员的时间和支持。此外，本期还包括由 Angelika Artyukh 和 Justin Wilmes 撰写的关于 Valeria Gai Germanika 的出版物，其中介绍了这位年轻而才华横溢的电影制片人在电视和银幕上的工作中的一些关键特征。最后，叶卡捷琳娜·切帕诺娃仔细分析了两部解冻电影中的情感表达，卡拉托佐夫的《鹤在飞》和扎尔基的安娜·卡列尼娜。在文件部分，本期介绍了赫尔辛基科技博物馆的一些有趣材料，由 Aleksanteri Institute 的 Ira Österberg 和赫尔辛基科技博物馆馆长 Emilia Västi 准备出版，我都想感谢他们这种材料的准备。该出版物涉及一位鲜为人知的人物，工程师兼发明家埃里克·泰格施泰特 (Eric Tigerstedt)，他是 1900 年代初期电影录音的先驱之一，他的命运 - 就像当年许多发明家一样 - 被战争注定了，流离失所，濒临破产的生活。尽管如此，Tigerstedt 做出了许多超越电影乐队录音（光学声音）的发现，但仍未取得商业成功，尽管这些发现以他的名义获得了专利。俄罗斯和苏联电影研究鼓励就苏联、后苏联和俄罗斯电影或视觉文化的任何方面提交作品。我们实行双盲同行评审制度；提交的内容应该是原创的（即以前未发表的，包括以另一种语言出版），并将在全年任何时候考虑。它们应该通过 birgit.beumers@gmail.com 发送给编辑。我想借此机会感谢期刊的制作团队，以及我的编辑和顾问委员会。