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<article article-type="research-article" dtd-version="1.3" xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xml:lang="ru"><front><journal-meta><journal-id journal-id-type="publisher-id">vgik</journal-id><journal-title-group><journal-title xml:lang="ru">Вестник ВГИК</journal-title><trans-title-group xml:lang="en"><trans-title>Vestnik VGIK</trans-title></trans-title-group></journal-title-group><issn pub-type="ppub">2074-0832</issn><issn pub-type="epub">2713-2471</issn><publisher><publisher-name>ВГИК</publisher-name></publisher></journal-meta><article-meta><article-id custom-type="elpub" pub-id-type="custom">vgik-1002</article-id><article-categories><subj-group subj-group-type="heading"><subject>Research Article</subject></subj-group><subj-group subj-group-type="section-heading" xml:lang="ru"><subject>ТЕОРИЯ И ИСТОРИЯ КИНО | ЭКРАННЫЕ ИСКУССТВА</subject></subj-group><subj-group subj-group-type="section-heading" xml:lang="en"><subject>FILM THEORY AND FILM HISTORY| AUDIOVISUAL ARTS</subject></subj-group></article-categories><title-group><article-title>Среда кинозрелища. Архитектура первых кинотеатров России</article-title><trans-title-group xml:lang="en"><trans-title>The Environment of the Cinematic Spectacle. The Architecture of the Early Russian Movie Theaters</trans-title></trans-title-group></title-group><contrib-group><contrib contrib-type="author" corresp="yes"><name-alternatives><name name-style="eastern" xml:lang="ru"><surname>Анисимов</surname><given-names>А. В.</given-names></name><name name-style="western" xml:lang="en"><surname>Anisimov</surname><given-names>Alexander</given-names></name></name-alternatives></contrib></contrib-group><pub-date pub-type="collection"><year>2019</year></pub-date><pub-date pub-type="epub"><day>03</day><month>02</month><year>2025</year></pub-date><volume>11</volume><issue>2(40)</issue><fpage>8</fpage><lpage>20</lpage><permissions><copyright-statement>Copyright &amp;#x00A9; Анисимов А.В., 2024</copyright-statement><copyright-year>2024</copyright-year><copyright-holder xml:lang="ru">Анисимов А.В.</copyright-holder><copyright-holder xml:lang="en">Anisimov A.</copyright-holder><license xml:lang="ru" license-type="creative-commons-attribution" xlink:href="https://creativecommons.org/licenses/by/4.0/" xlink:type="simple"><license-p>Данная работа распространяется под лицензией Creative Commons Attribution 4.0.</license-p></license><license xml:lang="en" license-type="creative-commons-attribution" xlink:href="https://creativecommons.org/licenses/by/4.0/" xlink:type="simple"><license-p>This work is licensed under a Creative Commons Attribution 4.0 License.</license-p></license></permissions><self-uri xlink:href="https://www.vestnik-vgik.com/jour/article/view/1002">https://www.vestnik-vgik.com/jour/article/view/1002</self-uri><abstract><p>С появлением кино как нового вида искусства актуализировался вопрос о формировании комфортной среды для кинопросмотров. В статье обосновываются особенности первыхспроектированных зданий для демонстрации кино, архитектурные отличия первых кинотеатров в Санкт-Петербурге и Москве, где использовались элементы театральной архитектуры, эклектика ресторанного дизайна, смешанные с деталями уходящего стиля модерн.</p></abstract><trans-abstract xml:lang="en"><p>The emergence of cinema brought about the issue of forminga comfortable environment for film screenings. This essay analyzes thecharacteristics of the first spaces used for film exhibition in St. Petersburg andMoscow and the architecture of the movie theaters built in these cities in the firstdecades of the 20th century and characterized by a combination of theatricalarchitectural traditions, eclectic restaurant design and elements of the fading ArtNouveau style.Film exhibition was a profitable business. Initially, screenings were held in rentedspaces but soon specialized buildings were designed and constructed. The essaylooks at the largest and most popular movie theaters built in St. Petersburg’smain street, Nevsky Prospect, and in the center of Moscow, discussing theirarchitectural features and their historical development. Thus, during the 1920sand 1930s, large movie theaters included a foyer with a stage for variety showsand a theater-like auditorium with a high-mounted, dark-framed screen; thespectators entered the auditorium via the main entrance and, after the screening,exited directly to a street or a yard</p></trans-abstract><kwd-group xml:lang="ru"><kwd>архитектура</kwd><kwd>электротеатр</kwd><kwd>первые кинотеатры</kwd><kwd>фасад</kwd><kwd>интерьеры</kwd><kwd>кинозалы</kwd><kwd>неоклассика</kwd><kwd>стиль модерн</kwd><kwd>реконструкция</kwd></kwd-group><kwd-group xml:lang="en"><kwd>architecture</kwd><kwd>electrotheater</kwd><kwd>early movie theaters</kwd><kwd>façade</kwd><kwd>interior</kwd><kwd>auditorium</kwd><kwd>Neoclassicism</kwd><kwd>Art Nouveau</kwd><kwd>reconstruction UDC 72.03 Alexander V. Anisimov Doctor of Architecture</kwd><kwd>Professor of the National Research University “Moscow State University of Civil Engineering”</kwd><kwd>Corresponding Member of the Russian Academy of Architecture and Construction Sciences (RAACS) The Environment of the Cinematic Spectacle. The Architecture of the Early Russian Movie Theaters</kwd></kwd-group></article-meta></front><back><ref-list><title>References</title><ref id="cit1"><label>1</label><citation-alternatives><mixed-citation xml:lang="ru">Анисимов А.В. Театральные здания Москвы. История и архитектура. М.: Курс, 2017. 384 с.</mixed-citation><mixed-citation xml:lang="en">Anisimov A.V. Teatralnye zdaniya Moskvy. Istoriya i arkhitektura [Theater buildings in Moscow.</mixed-citation></citation-alternatives></ref><ref id="cit2"><label>2</label><citation-alternatives><mixed-citation xml:lang="ru">Анисимов А.В. На Таганке. Как строили театр для Ю.П. Любимова и что из этого получилось. 1972–1986. 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