RESTORATION OF ACTIVITIES OF KYIV CINEMA DISTRIBUTION NETWORK (1943–1945)

Abstract

The purpose of the article is to analyse the activity of cinemas and film installations in Kyiv. The research methodology is based on the principles of historicism and objectivity. Historical-comparative, historical-genetic, systematic research methods are used. For the first time, the activities of cinematographic institutions, the peculiarities of their technical maintenance, provision of copies of films are considered. That is, attention is drawn not only to the restoration and operation of cinemas, but also to the peculiarities of the organization of film distribution in the capital of the Ukrainian SSR. The problems faced by the local authorities during the restoration of the cinema network are analysed. Peculiarities of audience service in city cinemas are considered. It was found that the cinema network of the capital can be divided according to certain characteristics (stationary cinemas and mobile cinemas, state and departmental cinema network, seasonal cinema network (summer cinemas). The restoration of cinematographic institutions in the city of Kyiv took place under the special supervision of the Soviet authorities. Thus, a separate city department of film production was created, regional offices of Golovkinoprokat provided copies of films to the capital as a priority. Despite the fact that there were problems in the operation of the cinema network due to a lack of electricity, spare parts, and qualified personnel, the cinemas successfully served moviegoers. During the restoration of cinemas, there were problems even with the lack of necessary furniture. Documents show that the cinema was quite popular among the capital's population, but the city’s cinema network could not provide for the entire population. Therefore, speculation developed, which the authorities tried to overcome by using repressive and punitive methods. Under the planned economy, the entire burden of recovery was placed on the republican and local budgets. The lack of private entrepreneurs slowed down the recovery of the cinema network. Instead, the command economy could not keep up with the accepted plans. The rapid pace of recovery was necessary to restore ideological influence over the population of territories liberated from Nazism.