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impressionist in cinematographic art (« Paganini » and other films) — exercised on the German film. Recently, the Feksi school has reflected also the influence of the French School of the Left.
The New Masters of the Cinematograph : After having enumerated the diverse currents apparent in the Soviet cinema and mentioned the exponents thereof, we may recall some other names which are bound up with the tendencies of Soviet cinematography : among many others, G. V. Alexandrof (Eisenstein's partner), E. CerviakofT, F. Ermler, the Georgian Sceghelei, and Bek-Nasaroff. Together they have formed the G. T. K. (The State Cinema Theatre Institute).
We have other new artistic directors (E. Scetrov, PetrofT, Bitoff, et al.) who devote their activities to films reproducing exclusively local customs. They aim at the faithful representation of local environment, having specially in mind the audiences in these environments (peasants and workers), and they subordinate the form of the contemporary film to this end.
The Pre-Revolution Masters and their Present-day Disciples: Besides the young Soviet School, we have also many masters of the old school.
Although these are not uninfluenced by the innovations which have taken place in the cinematographic domain, their style conforms to tradition, and, from this aspect, their production is closely allied to the realistic forms so characteristic of modern German cinematography.
We may cite here A. ProtasonofT, V. P. CasianofI, A. E. Rasumni; there are many others besides.
There are also a certain number of young artistic directors who follow the trend of the « traditional » school : special mention should be made of V. Taric and L. Roscial.
Gardin, who is the master of many young artistic directors, stands apart from these, since he often violates tradition in order to introduce ((experimental)) principles. He is a precursor of specialized methods, especially in respect of the mise en scene.
A. Fedoroff.
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