• Journal of the Korean Society of Costume
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• v.36
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• pp.183-203
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• 1998

The wave of Avant-garde swept away all in the unique social background so called 'October Revolution' and the early 1900 Russian society which was able to absorb and accept anything. The Russian avant-garde has been affected by the Cubism and the Futurism those had peculiarly appeared in the early twentieth century, spreaded out to three spheres: the Suprematism, the Rayonism and the Constructivism. The Russian Constructivism has appeared in this background, concretely and ideally ex-pressed the ideology of the revolution into the artistic form and made an huge influence to the whole Russian society. The Constructivist like Tatlin, naum Gabo, Pevaner, Rodchenko, Stepanova, Popova and Exter gave great effect on the Soviet Constructive fashion design in 1920's after the Revolution. The Soviet costume in 1920s hold in common the characteristicss of the Constructive graphic as it is, geometrical and abstractive form, energetic and motility. In fashion design, these graphic qualities have been showed as the application of geometrical form and architectural image, physical distortion and transformation. And in textile design, the simple, dynamical presentation has been appeared. We can classify the Soviet costume at this time into three occasions. The first term is from late 1910 th mid 1920, and it is altered from folk costume design to modern one. With Lamanova as the first on the list, using the folk mitif, the Constructive expression of simple form has been gradually revealed in design. Designers like Makarova, Pribylskaia and Mukhina produced the plane, simple chemise style with the decoration of the Russian traditional motif. From early to late 1920 is the second term, and it is at the pick of the most active processing of the Constructive design. Not only at the costume in daily life but also at the theatrical costume and textile, the con-structive design has been represented all avail-able fields. Many Constructivists including Stepanova, Popova, Exter and Rodchenko took part in the textile design and costume design so as to evlvo their aesthetic concept. The third term is from late 1920 to early 1930. The socialistic realism has dominated over the whole culture and art, the revolutionary dynamic motif has been presented also in textile design. The formative features of Soviet Constructive fashion design are; silhouette, from, motif, color and fabric. The first, the silhouette : a straight rectangular silhouetted has been expressed through the whole period and a volumed one with distorted human body shape has introduced in the theatrical costume design. The second, the form: many lengthened rectangular forms have been made at beginnings, but to the middle period, geometrical, architectural forms have been more showed and there are energy and movement in design. At the last period, only a partial feature-division has been seen. The third, the motif; no pattern or ethnic motif has been partly used at beginnings, a figure like circle, tri-angle has gradually appeared in textile design. At latter period, a real-existent motif like an airplane has been represented with graphing and simplicity. The fourth, the color ; because of insufficient dyeing, neutral color like black or grey color has been mainly covered, but after middle term, a primary color or pastel tone has been seen, contrast of the fabric; without much development of textile industry after the Revolution, thick and durable fabrics have been the main stream, but as time had going to the last period, fabrics such as linen, cotton, velvet and silk have been varously choesn. At the theatrical costume, new materials like plastics and metals that were able to accentuate the form. The pursuit of popularity, simplicity and functionalism that the basic concept of Constructive fashion is one of the "beauty" which has been searching in modern fashion. And now we can appreciate how innovative and epochal this Soviet Constructive fashion movement was.ement was.

• The Journal of the Korea Contents Association
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• v.10 no.8
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• pp.147-158
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• 2010

The Soviet Silent Films in the 1920s, produced a brilliant prosperity in the history of world films in the cultural and artistic aspects. Among them, Dziga Vertov was a film theorists and a practitioner along with Sergei M. Einstein played a pivotal role in the contemporary soviet films at the time. But the film theories of Vetro is incorrectly recognized or specialized compared to the theories of Eisenstein. But Deleuze has stated that the short in the movie of Vertov is able to deliver a meaning and an impact and he has emphasized that a short can be significant by itself by focusing on the 'truth' which a documentary must have. His film theories are based on futurism and constructivism and use the 'kino-eye' method and 'Interval' theory to summarize and organize his movies into 'movie-truth' principal and 'life as itself' concept. Deleuze the purpose of this research is to analyze with the Vertov core of film theory and every theory of kino eye as the foundation and by comparing the Montage Theory of Sergei Eisenstein and applying Deleuze's Image Theory. Furthermore, it can be insufficient to discuss the film commercial achievements of Vertov as a result of inadequacy of previous research but it will further study his innovative methods and depth of his theories in his representation form in the documentary films.

• Cross-Cultural Studies
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• v.22
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• pp.7-27
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• 2011

This article is devoted to little-studied play of M.A. Bulgakov "Adam and Eve". By the end of 1920's - the beginning of 1930's soviet society is differentiated again, its construction is rebuilded. In the new condition drama is needed as much as possible. Drama on the stage is ideal model for instruction of "Mass". Thereupon soviet society asked "New Hero", "New play", which can rebuild soviet citizen in the new construction of government. Thereby the play of M.A. Bulgakov "Adam and Eve" is created by order of soviet society. In this play typical soviet people are represented: Adam Krasovsky(engineer), Daragan(pilot-terminator), Ponchik-Nepobeda(writer), Zahar Markizov(proletarian-baker). They are different from each other by their occupation and formation, but they have same consciousness and they think identically. Bulgakov makes stand such problems: impersonality and unfreedom of human being in the government of communism. Bulgakov, using Parody, doubt the possibility of realization of utopia of Soviet government. Bulgakov show to us that Adam Krasocsky is not real Adam-first human being. In the play we can see the real Adam is the scientist-intelligent Efrosimov. Bulgakov change the place of Ponchik with the place of Markizov. The idiot and the fool is recognized not Markisov-drinker, tyrant, but Ponchik-writer. After the disaster Markisov, reading a Bible, is changing and by the end of play he started writing his own novel. Indeed if Ponchik wrote hoked-up novel, Markisov writes a real own history. Request of Leningrad Theater for Bulgakov to write about the future war comes from the spirit of the time. But Bulgakov in this play "Adam and Eve" could insist that the "Life" is a supreme value.

• The Korean Journal of Archival Studies
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• no.10
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• pp.324-370
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• 2004

This paper aims to research the historical development of the archival systems in the Soviet Union from 1917 to the 1920's. The Russian revolution was the turning point not only for the political and social changes but for the archival administration in Russia, as it provided the new Soviet regime with the chances to reorganize the archival institutions under Bolshevik rule. However, we must not forget the fact that the Russian Archival Workers' Union had taken part in the organization of the archival systems together with the Bolshevik revolutionaries. The Soviet government intended to transform the decentralized and poorly organized archival systems in the prerevolutionary years into the centralized and bureaucratized ones. In this meaning, the decree signed be V. I. Lenin on 1 June 1918 was estimated as the real basis for the Soviet archival centralization. Lenin's archival decree of 1918 encompassed the entire national documentary legacy, which was gradually extended to all types and categories of manuscripts and archival records by successive legislation. The concept of state proprietorship of all documentary records was designated "Single State Archival Fond"(Edinyi Gosudarstvennyi arkhivnyi fond), which was renamed as "Archival Fond of the Russian Federation" after the collapse of the USSR. The independent state administrative agency, that is, "Main Administration of Archival Affairs"(Glavnoe upravlenie arkhivnym delom) was charged with the management of the entire "Single State Archival Fond". While the Soviet Union reorganized its archival systems in the twenties, the archival institutions became under the severe control of the government. For example, M. N. Pokrovskii, the well-known Marxist historian and the political leader, headed the organizational work of archives in the Soviet Union, which resulted in the exclusion of the prerevolutionary specialists from the archival field in the Soviet Union. However, the discussions over the concept of "the Archival Fond" by B. I. Anfilov helped to develop the archival theories in the USSR in the twenties. In conclusion, the Soviet Union, having emphasized the centralization of the archives, developed its archival systems from the early period, which were the basis of the systematic archival institutions in Russia.

• Journal of Korean Society of Archives and Records Management
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• v.4 no.2
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• pp.23-39
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• 2004

The Bolshevik Revolution of 1917 resulted not only in the establishment of the Socialist regime, but also in the critical changes in the Russian archival system. The Soviet government issued "Decree On the Reorganization and Centralization of Archival Affairs in the Russian Socialist Federated Soviet Republic", which prepared the ground for the archival administration in USSR. After having been revised and supplemented in the 1920's, the decree, signed by V. I. Lenin, was changed into "The Decree on the Archival Administration of Russian Soviet Federated Socialist Republic", by which the Bolshevik government was able not only to develop the conception of the State Archival Fond with the Single Archival Fond, but also to enlarge the archival collection. Besides, it was remarkable that the archival decree of 1929 provided the justification for actual developments of the archival institution. And from the practical point of view, the decree improved the archival affairs by means of the defining of the conservation period. It was at the beginning of the Stalin's period that the decree of 1929 was issued. Therefore, it may be said that the decree was one of the proofs as well as the agricultural collectivization and the industrialization that Stalin gained the overall control of the Soviet government. It was confirmed when the Second Conference of Soviet Archivists was held from 25 May to 1 June in 1929. After this meeting, M. N. Pokrovskii, who was the director of the Archival Administration in the course of the 1920's, lost the influence over the Soviet archival organizations, which meant that the autonomy of the Soviet archivists was reduced in a great degree. The Central Archival Administration of the Bolshevik regime experienced the analogous changes. It was changed into the Central Archival Agent in 1929 when the Stalinist system became strengthened. At the same time, it was significant that the Central Archival Administration of USSR was established. However, the Soviet archival affairs became under the direct control of the N. K. V. D. in the period of the Great Purge.

• International Journal of Contents
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• v.4 no.4
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• pp.24-29
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• 2008

In 1920s, Soviet silent films enjoyed unprecedentedly great prosperity throughout world film history. Particularly, Dziga Vertov could develop 'montage' in collaboration with Sergei Eisenstein and thereby could work as the engines behind development and leap of Soviet films toward 'new concepts' of 'new films' worldwide. However, Vertov's original reputations - the best film theorist and avant-gardist as well as great cineaste in his contemporary age - have been misunderstood or underestimated, so that he has been still misestimated or distorted as radical formalist and documentary propagandist. In regard to these points, this study aims to take Gilles Deleuze's modal esthetic approaches to further considering and historically re-highlighting D. Vertov's film theories that are based on the principle of 'film-reality' and the concept of 'Life As It Is' according to 'kino-eye' method and 'interval' theory as a part of futurism and constructivism breaking down any attribute of traditional narrative films.