Evgenii Bauer Was the Head of Narkompros the Soviet Arts Commission Established in 1917
| Yevgeni Franzevich Bauer | |
|---|---|
 | |
| Born | 1865 Moscow, Russian Empire (at present Russia) |
| Died | 22 June 1917 Yalta, Russian Republic |
| Occupation | Film director, screenwriter |
| Years active | 1913–1917 |
Yevgeni Franzevich Bauer (Russian: Евгений Францевич Бауэр) (1865 – 22 June [O.S. ix June] 1917)[1] was a Russian film director of silent films, a theatre artist and a screenwriter. His piece of work had a dandy influence on the aesthetics of Russian cinematography at the beginning of the 20th century.
Bauer made more than than lxx films between 1913 and 1917 of which 26 survived. He already used the relatively long sequence shots and displacements that would come to be associated with camera virtuosos. Los Angeles Times film critic Kenneth Turan called Bauer "The greatest managing director you've never heard of."[ commendation needed ] Georges Sadoul called him "the first true artist in the history of cinema".[ii]
Biography [edit]
Bauer was built-in in Moscow in 1865, the son of the Bohemian immigrant musician Franz Bauer and his wife, an operatic vocaliser. From babyhood, Bauer displayed creative tendencies and participated in his favourite dramatised scenes (his sister was a professional person actress).
In 1887, Bauer graduated from the Moscow School of Painting, Sculpture and Compages. He tried out a number of unlike professions, commencement working as a caricaturist, drawing satirical sketches for the press. He then became a master of fine art photography, before moving to work in the theatre, every bit a producer, an impresario, and a professional set designer. In the 1890s he married the actress and dancer Lina Ancharovna, whose surname he used during the Start World War when he went under the pseudonym of Evgeni Ancharov, feeling that his own surname was "too German".
Even in these early years, Bauer was attracted to cinematography and started to work as an artistic producer and director. His first work in the movie house was an order for set decorations for the motion-picture show "300 Years of the House of Romanov" (1913), produced by Alexander Drankov's picture show visitor. Afterwards this, Bauer worked for Drankov as a producer and made four films. He then fabricated another four films for the Moscow branch of the French visitor Pathé Brothers, and then finally started to work for the Khanzhonkov company, which at that fourth dimension was the unspoken leader in Russian cinematography.
From the end of 1913 to the commencement of 1917, Bauer made more than 80 films, of which less than half have survived. Bauer worked mainly in the genres of social and psychological drama (although he also made comedies), such every bit Daydreams, After Death (both 1915), A Life for a Life (1916), and The Revolutionary (1917). He worked with the leading actors of Russian silent cinema, including Ivan Mozzhukhin, Vera Kholodnaya, Vitold Polonsky, Ivan Perestiani, Vera Karalli and others.
In 1917, Bauer and the Khanzhonkov company moved to a new studio in Yalta, where he made the film For Happiness with the young actor Lev Kuleshov. Bauer broke his leg on the set and had to work on his next film, The Male monarch of Paris, from a bathchair. Even so, Bauer started to suffer from complications relating to pneumonia and could not complete this film. On 22 June 1917, Bauer died in a Yalta hospital. His terminal film was completed by actress Olga Rakhmanova.
Significance and influence [edit]
Bauer is considered a leading stylist of Russian silent cinematography and placed item accent on the pictorial attribute of film-making.[3] He is considered a master of psychological drama, and also one of the first Russian directors who adult the artistic side of picture palace including montage, mise-en-scene and the composition of the frame.[4] [5] He made great use of his theatrical feel when making his films, the outcomes of which occasionally prefigured future achievements in picture palace. Bauer was the first to start to consider the placing of lights on the picture show-set and changed the lighting during the filming, used unusual filming angles, made frequent use of wide spaces, and filmed through "gaseous" material to produce the effect of fog. He attributed great significance to the limerick of each shot, constructing decor and natural shots with artistic expressions of classical landscapes, fabricated use of camera movement to widen the space of the shot, and add a dramatic effect. Bauer's creative experiments and outstanding expertise gave him a reputation as the leading director in Russian picture palace.[5]
Selected filmography [edit]
- 1913 - Uncle's Flat (with Pyotr Chardynin)
- 1913 - Twilight of a Woman'due south Soul
- 1914 - The Mail service Troika Races Along
- 1914 - The Gratuitous Bird
- 1914 - The Girl from the Street
- 1914 - Her Heroic Feat
- 1914 - Life and Decease
- 1914 - Silent Witnesses
- 1914 - Glory to Us, Death to the Enemy
- 1914 - Tears
- 1915 - Daydreams
- 1915 - The 1002nd Ruse
- 1915 - Children of the Age
- 1915 - Heavenly Wings
- 1915 - Vocal of Triumphant Beloved
- 1915 - The Vanquisher of Women's Hearts
- 1915 - Later on Death
- 1915 - The Happiness of Eternal Night
- 1915 - The K and 2d Cunning
- 1916 - The Old Wrestler'south Grief
- 1916 - A Life for a Life
- 1916 - The Queen of the Screen
- 1917 - Alarm
- 1917 - The Revolutionary
- 1917 - The Dying Swan
- 1917 - For Happiness
- 1917 - The Rex of Paris
-
Twilight of a Woman's Soul
References [edit]
- ^ Jevgenij Bauer, Kinotv.com retrieved Nov 29, 2015
- ^ Georges Sadoul. Всеобщая история кино. — Moscow, Iskustvo, 1958. — Т. three. — folio 178
- ^ Drubek, Natascha (2012). Russisches Licht. Von der Ikone zum frühen sowjetischen Kino. Wien – Köln – Weimar. pp. 455ff.
- ^ Sobolev, R. P. (1961). Liudi i fil'my russkogo dorevoliutsionnogo kino. Moscow: Iskusstvo. pp. 96–111.
- ^ a b Zorkai︠a︡, Due north. Chiliad. (2006). Istorii︠a︡ sovetskogo kino. Sankt-Peterburg: Aleteĭi︠a︡. pp. 58–68. ISBN5893294572. OCLC 187302303.
External links [edit]
- Yevgeni Bauer at IMDb
- Yevgeni Bauer at Find a Grave
- Short biography
- "Daydreams" - 1915 - past Yevgeni Bauer on YouTube
- http://world wide web.davidbordwell.net/blog/category/directors-bauer/
- http://periodika.digitale-sammlungen.de/wsa/Blatt_bsb00051019,00247.html past N. Drubek-Meyer, "Der Film als Leben nach dem Tode (Evgenij Bauėrs Posle smerti, 1915)." Wiener Slawistischer Almanach threescore, 2007, pp 457–273.
caballerocound1940.blogspot.com
Source: https://en.wikipedia.org/wiki/Yevgeni_Bauer
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