Presented by Alex Kamionsky, Moscow
Till recently, film director Vladimir Kobrin has been familiar to quite a
narrow circle of film intellectuals. In his films he is not speaking a simple
language intuition, insight. His name is associated with the birth of a new
language in cinematography.
Kobrin considers the cinema language more capacious and associative than the
phonetic language.
At least graphic and editing structure of the cinema language is not at all
parallel to the spoken language, and very often it is impossible to translate
the graphic language into the rational one. He considers symbols to be a
peculiar alphabet of the culture of mankind and thus embodies conceptional
matters with a universal visual language, that is, seeks a graphic equivalent
to scientific notions. Translates scientific notions into the general human
graphic symbolic language. That is why his films are interesting for their
multivalency of reading and interpretation and are among "stratified" works,
have several readable meanings and a characteristic of generalization.
And this metaphoric film language of director V. Kobrin with his mythologic and
symbolic meanings suddenly appears very modern.
Turning not to the viewer's logics, but to his sense perception, he reveals an
enormous associative stratum of thoughts and images in his subconsciousness.
Director V. Kobrin's films, to our point of view, are a new stage of search for
mutual understanding among artists, scientists and the audience.
Fantastic reality makes up the stylistics of his films. Both objects and images
in his films live as if independently, forming a certain conventional material
world governed by its own laws of transformation.
According to director V. Kobrin, "as the world problems are indivisible,
likewise indivisible in principle are the problems of esthetics. The esthetics
of modern arts is determined not so much by the material world ... subjects of
concrete time, as by fundamentally new pattern of thinking... "
V. Kobrin's films seem to apply to purely scientific problems, but from the
general point of view they are deeply humanistic and moral. (Text from
magazin "Stolitza", Moscow June 1991)
Vladimir Kobrin was born in 1942. In 1969 he graduated from the AllUnion
State Institute of Cinematography - the cameramandepartement and began to work
at the Central Studio of educational and instructional films, CENTRNAUCHFILM.
Working as a cameraman from 1969 to 1977 he produced 18 short-length
documentary and educational films. From 1977 to 1989 as a film director he made
about 20 instructional films on various topics. He concidered the 11-series
cycle on biophysics to be the most prominent of these films
(1982-1989-"Subjectandtasksof Biophysics"). In 1991 VGFR (the All-Union State
Institute of Cinematopraphy) together with the All Union Cinema und TV Centre
for children and youth (Kobrin School-Studio) admitted candidates for studies
in the departement of "Experimental Cinema and Computer Technics Direction".
The task of School-Studio headed by Vladimir Kobrin is to train Qlm directors
with acute sense of visual nature of cinematography.
Part I
Biophysics Of Fermentative Processes
35mm, 17:00, col., 1987. Director: V. Kobrin. Script: V. Kobrin, G.
Reznichenko. Camera: V. lvanov, M. Kamionsky.
An attempt to single out universal laws of development/ interaction of the live
world, from molecule to social structures.
Biopotentials
35mm, 27:00, col., 1988. Director: V. Kobrin.
Script: V. Rohrin, G. Rezniehenho. Camera: V. Ivanov, M. Kamionshy.
An attempt of philosophical viewing the primeval problem of dialectics of good
and evil in the frame work of some definitions of biological physics.
Present Continous
35mm, 25:00, col., 1989. Director: V. Kobrin. Script: L. Rudin. Camera: V.
lvanov, M. Kamionsky. Actor: V. Buzkov.
The reason for making the film is the hypothesis of the astrophysicist N.
Kozyrev about the physical nature of time.
Part II
Selforganization Of Biological Systems
35mm, 17:00, col., 1989. Director: V. Kobrin. Script: V. Kobrin. Camera: V.
Ivanov, M. Kamionsky.
Self-organization is a final of all-series educational film cycle on
biological physics. The film is made up as a flow of manical-material
consciousness and tells about the basis of modern synergetical notions.
TYT 1991
35mm, 16:00, col., 1991. Director & Script: V. Kobrin. Camera: V. Ivanov,
M. Kamionsky.
This film is a psycho-philosophical pamphlet in the genre of "ritual dancing"
on the debris of a technocratic civilization.
Homo Paradoxum III
35mm, 26:00, col., 1991. Director & Script: V. Kobrin. Camera: V. Ivanov M.
Kamionsky.
The "site" of the film is the closed space of life with maniacal cyclic
recurrence of its biosocial phases, including the space of consciousness, space
of our imagination.
Students Sketches
35mm, 10:00, col., 1991.
Some works of students of the Kobrin School-Studio.
