Z kamerą w carskich mundurach. Polscy operatorzy jako czołówka Wojskowo-Kinematograficznego Oddziału Komitetu Skobielewskiego (1913-1917)
Cameramen in Tsarist Uniforms. Polish cinematographers as the best in the Military-Cinematographic Branch of the Skobelev Committee (1913-1917)

Summary/Abstract: Military-Cinematographic Branch of the Skobelev Committee was one of the most important players in the film industry of the Russian Empire in the pre-revolutionary period. In addition to the publishing and audio branches (responsible for editing postcards from the front-line), it was the cornerstone of the propaganda apparatus during the Great War and the 1917 revolution. The core of the production and filmmaking team consisted of Polish filmmakers who gained their experience and skills in the interior of Imperial Russia (Mieczysław Domański, Władysław Starewicz and Piotr Nowicki) and those who were forced by the war to leave the area of the Polish Kingdom in the beginning of the world conflict in the summer of 1914 (Jan Skarbek Malczewski, Antoni Fertner and Gustaw Kryński). They made feature films, diplomatic documents, they recorded the rituals of the court of Nicholas II, but above all they filmed the area of the front-line, that is the area of the future Polish state (Galicia, the Kingdom of Congress). They worked at the crossroads of two cultures, and were pioneers of both Polish and Russian cinematography.

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