1. pioneer of found footage cinema
1.1. 1919: she started her career and participated in the avangarde theater movement with both MEJERCHOL'D and MAJAKOVSKIJ
1.1.1. her closeness with them led Shub to adhere to the program of LEF GROUP - also known as LEFT FRONT OF ARTS
1.1.1.1. aligning itself with the principles of CONSTRUCTIVISM, LEF promoted "FACTOGRAPHY", or the inscription of facts in cultural products, as the principal discursive form to be used by revolutionary artists.
1.1.1.1.1. the goal of Constructivist cinema is not just make movies, but to partecipate actively in the building of a new classless society
1.2. 1922: Shub's career started in the film industry when she was hired at the major state-owned GOSKINO FILM STUDIOS
1.2.1. here she was assigned to direct the editing division alongside another woman, TATIANA LEVINTON
1.2.1.1. it was an instrumental and strategic task to the reworking of both foreign and prerevolutionary films to the new ideology of Soviet Russia
1.2.1.1.1. - Shub was responsible for the ideological makeover of imported productions
1.2.1.1.2. - Shub worked on several American serials featuring female action stars, contributing to make these women actors popular among Soviet audiences
1.2.1.1.3. - It was an essential aspect of Shub's training and had a strong impact on her innovations in nonfiction filmmaking
1.2.2. as a professional editor at Goskino and a member of Constructivist group, Shub was very close to EJZENSTEJN, with whom she collaborated in the early years of his career
1.2.2.1. - she criticized Ejzenstejn's method of "played" filmmaking, wich she considered inadequate to the needs of revolutionary cinema
1.2.2.2. - Ejzenstejn's theory of montage was neverthless an important source of inspiration for Shub's own concept of editing: "a montage of attractions"to non fiction archival materials
1.2.2.2.1. Shub's compilations of footage fragments do not follow a casual or consequential logic of editing, but, rather, a conceptual principle of association that expresses a political interpretation of history
1.3. 1927: THE FALL OF THE ROMANOV DYNASTY
1.3.1. - made for the 10th anniversary of the February Revolution, a rebellion of millions of workers and peasants against the monarchy
1.3.2. - three themes in the film:
1.3.2.1. 1. Tsarist Russia during the black reactionary years and capitalist Europe during the same period
1.3.2.2. 2. World bloodshed
1.3.2.3. 3. February
1.3.3. - the footage was taken entirely from Russian and foreign newsreels from 1913 to 1917
1.3.3.1. Shub also worked to restore or duplicate precious footage that had been damaged as a result of poor storage conditions
1.4. 1928: THE GREAT ROAD
1.4.1. - made from nonstaged, authentic film documents
1.5. 1928-1931: alongside her husband, ALEKSEI GAN, Shub partecipated in the activities of the OCTOBER GROUP, regarded as the last collective to embrace the ideas of Constructivism
1.6. 1929: LEV TOLSTOJ AND THE RUSSIA OF NICHOLAS II
1.6.1. - first time for a nonfiction film focused not on a collective, but on an individual personality
1.7. 1930: SEGODNIA
1.7.1. - she turned to contemporary matters
1.7.2. - so-called "public-istic" film genre, which consisted of documentaries made to reflect on critical issues of both domestic and foreign policy
1.8. 1932: KOMSOMOL, LEADER OF ELECTRIFICATION
1.8.1. - first project based on original filmed material
1.8.2. - a sound film that celebrated the enthusiasm of a group of young Communists involved in the general effort to modernize the Soviet Union
1.8.3. - it was not well receveid by the political establishment and Shub found herself increasingly marginalized in the film world
1.8.3.1. Shub found it difficult to find a place for herself in the context of Soviet cinema after the Stalinist turn