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end of St. Petersburg)) has earned him great fame as a scene director both in Soviet Russia and abroad. As regards form, he unites the very clear method of L. Kuleshoff with the vigorous realism of Eisenstein, thus completing the cycle of the development of form in the film art started by Kuleshoff himself. We should point out that the style of the Moscow cinematograph masters (Eisenstein and Pudovkin, more especially) has reacted to the influence not only of the American film, but also of the new French current (Abel Gance and Jean Einstein), tending to a poetic form of film, always based on the innovations introduced into cinematographic technique (picturesque character, musicality, mass technique, double projection, slow and quick motion, etc.).
Charlie Chaplin's film « The Parisienne » produced a great influence on the Soviet masters.
A. Dovgenko: Pursuing much the same principles as those above delineated, the film « The Zveni Mountains » by A. Dovgenko, at once established his reputation in Ukraine as an artistic director of great value. His film « The Arsenal » reveals yet more completely his individuality and ability.
A. Room: This excellent artistic director has felt, among the other influences above indicated, also that of the German cinematograph: he has, however, developed a structural method of his own.
The Eccentric Actors' School : While the Moscow artistic directors have pursued the path of effective realism, the young Leningrad directors, such as G. M. Kosnizeff and D. Z. Trauberg of the « Feksi » School of Eccentric Actors, after the experiments made with the film, « The October Events », have developed a form of impressionist melodrama — the word « impressionist » not being, of course, used in the accustomed sense of the « impressionist » school of art.
A very unusual taste and style are united to perfect cinematographic intuition, with the result that the theatrical and conventional are surpassed by cinematographic realism.
It may be true that the style of the « Feksi » school was subject, till recently, to the influence which Robert Winne and Paul Wegener, and later on Conrad — who was regarded as the first
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