Art of Cinema (Iskusstvo kino), 1937. Collection of Issues No. 1–5, 7, 9, 12. In Russian.

Журнал «Искусство кино». 1937 г. Подшивка номеров: № 1, 2, 3, 4, 5, 7, 9, 12. / Отв. редактор К. Юков.
Москва : Государственное издательство «Искусство», 1937.
7-й год издания. Твердый владельческий переплет, энциклопедический формат. Состояние: в №1 отсутствуют стр. 37–38.
***
Art of Cinema (Iskusstvo kino) Magazine. 1937. Bound volume of issues: No. 1–5, 7, 9, 12. / Editor-in-Chief: K. Yukov.
Moscow : Iskusstvo, 1937.
7th year of publication. Hardcover (library/owner's binding), encyclopedic format. Condition: Pages 37–38 are missing from Issue No. 1. In Russian.

This 1937 collection of Art of Cinema (Iskusstvo kino) represents one of the most dramatic and historically significant years in the history of Soviet cinematography. Originally founded in 1931 as Proletarian Cinema, the journal adopted its current name in 1936, and by 1937, it had become the central theoretical and critical organ of the Soviet film industry. Under the editorship of Konstantin Yukov, the magazine served as a battleground for defining Socialist Realism in film during a period of intense ideological pressure and artistic transition.
The issues in this collection document the Soviet film industry at a crucial crossroads. They contain rare theoretical articles by masters such as Sergei Eisenstein and Vsevolod Pudovkin, reviews of legendary films like The Baltic Deputy, and early discussions regarding the "Lenin in October" project. However, the 1937 volume is also a grim record of the era's political climate; many pages are dedicated to the "unmasking" of "enemies of the people" within the film industry, including the fall of the head of Soviet cinema, Boris Shumyatsky, and various directors and critics who vanished during the Great Purge.
The magazine is richly illustrated with film stills, production photographs, and portraits of actors and directors, many of which were suppressed shortly after publication. In this study, the collection provides a deep typological analysis that offers a deep dive into the internal logic of the Soviet montage school versus the emerging "heroic" realism, including the arrangement of narrative structures and visual composition in pre-war cinema. To ensure scholarly reach, the journal published analytical materials on theater, music, and photography, making it a bridge between various artistic disciplines under the umbrella of cinematic synthesis.
The absence of pages 37–38 in the first issue is a common feature of magazines from this period, often indicating the removal of portraits or articles concerning individuals who were arrested after the issue went to print. For film historians, collectors of Soviet periodicals, and researchers of the 1930s cultural revolution, this 1937 bound volume is a primary source of unparalleled intensity, capturing the artistic brilliance and political tragedy of the "Golden Age" of Soviet cinema.