chapter  32
8 Pages

The innovative experiments of Alexander Sokurov and Andrei Chernykh: creating a multi-layered polyphonic sound score, and a 'musical' film without music.

Its last five years were one of the most difficult periods for Soviet film music. Against a background of feverishly increasing film production, it entered a phase of lingering crisis (which soon hit the cinema): this was caused by uniformity of suggested subject matter and a disdainful attitude of directors to composers' music. They supplanted it either with compilation or with the surrogates of mass culture. The fact that a number of the best composers went to live abroad (Schnittke, Gubaidulina, Korndorf, and later Artemyev) which reduced their creative activity in the cinema, resulted in the quick redistribution of vacant places between hacks and second-rate composers, ready to write anything for anybody in record time.