By Drew Goddard
Screenplay of the motion picture Cloverfield
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Additional resources for Cloverfield
Der Export nach Russland”, Lichtbildbühne, vol. 11, no. 38 (27 September 1918), pp. 17–18; Taylor, Politics of the Soviet Cinema, p. 48. , p. 50; Alec Nove, An Economic History of the USSR (Harmondsworth: Penguin, 1969), p. 87; Leyda (Kino, pp. 146–7) describes how the Russ collective members making Polikushka in the winter of 1919–20 worked for shares of the potential profits and paid additional actors with potatoes. Fischer, Soviets in World Affairs, pp. 282, 294. Dr Hans Wollenberg, “Der Film in russischen Chaos”, Lichtbildbühne, vol.
Later Anglo-American sold more films for exportation to Russia, including the mammoth serial Die Herrin der Welt. 39 After the formation of Goskino, a similar pattern persisted. Liberman, the head of Goskino, returned from a Berlin visit, having arranged to purchase raw stock and foreign films for Goskino, VUFKU (the Ukrainian state film company) and Goskinprom Gruzii (the Georgian state film company). Russian business was brisk in Berlin over that summer. In June an AngloAmerican Film-Export Company advertisement called for “quick offers of good fiction films from the current and previous years’ production for Russia”.
It seems likely, however, that the comparative lack of centralized control over the production stage may have fostered the rise of the montage movement, which was occurring at this same period. The decline of that movement likewise parallels the move toward increased centralization from 1930 on. CONCLUSIONS This examination of the relative dearth of official Soviet subsidies for the film industry, and of the extensive dependence on foreign trade and credit, suggests that the Soviet film industry must be looked at in an international context.