Аннотация: Creative markets in the family context. A literary and historical note.
Creative markets in the family context. A literary and historical note.
Yesterday I met on the Internet material: "Children and grandchildren of Yulian Semyonov - where and how they live, what they do." ['Дети и внуки Юлиана Семенова - где и как живут, чем занимаются'] The author, if I understood correctly, is hidden behind the pseudonym: "And who are the children?" ['А дети кто?'] Posted March 4 (what year? 2020? Economy on information?). 16 thousand views ...
What is interesting about this material?
It is a family that includes a significant number of creative personalities.
Each of the creative figures created (continues to create) a creative product.
For an 'ordinary' Russial citizen, several facts are obvious:
1. The children's poet left a significant literary legacy,
2. His sons are also creative people. It seems that we can talk about books. But their films are better known.
3. The children's poet married the daughter of a famous artist. The wife had a daughter from a previous marriage, and this daughter grew up and married a famous Soviet writer. The famous Soviet writer also left a significant literary legacy.
4. A famous Soviet writer gave birth to children who are also not strangers to creativity.
A creative product is presented:
1) in literary works,
2) in films,
3) in the paintings ...
'Ordinary' Russial citizen, based on theoretical ideas, assumes that the circulation of all those creative products (in the information environment) creates a significant cash flow.
Why does such an assumption have a right to exist?
European and world civilization developed over several centuries and created legal, social conditions for a creative person to be able to live on the financial results of his activities.
It is more or less natural for the Western World a dissemination of well-known information - what means public figures receive. Different ratings are being compiled ...
However, the material "Children and grandchildren of Yulian Semyonov - where and how they live, what they do" one of the main themes has the sale of paintings "by Pyotr Konchalovsky - in total about 80 paintings. Their total cost is estimated by the Ministry of Culture - about 20 million dollars. " To believe to anonymous material, or not to believe, is a reader 's choice.
Another thing is interesting.
The focus is on the sale of paintings left in the family by one of the ancestors.
And what about the fees? What about the financial results of the creative activities of creative persons - living family members?
I did not find any mention of a fees ...
No mentions of royalty for publishing literary inheritance and for showing (selling) films at all...
The situation with public funding in the cinema sphere developed independently. She became more and more scandalous. The concept of "cinema oligarchs" appeared ... Apparently, these are those unknown to anyone, mythical figures who sit on a state funding for film business - they control a state money ...
In the article 'Children and grandchildren of Yulian Semyonov - where and how they live, what they do', details are scattered indicating alleged suspicious acts 'By the way, as explained later in the Ministry of Culture, they did not give official permission to export any of Pyotr Petrovich Konchalovsky's paintings ".
Anonymous material makes a sad impression. We are talking about undeniably talented, creative people.
But where is the story of a decent, independent, prosperous life based on financial results from creative activity?
The plot of the material largely revolves around the sale of paintings created by one of the family members until 1956 (who had already gone to another world) ... Years of life of Pyotr Petrovich Konchalovsky: 1876 - 1956.
The material is especially expressive because it is not about beginners or little-known people who need to prove or confirm something, achieve something, but about people widely known and undeniably talented ...
For creative people of European traditions it is more or less natural to exist in an environment of developed creative markets.
For a fish, for example, the usual, the natural is a water environment...
Without water, "A Pike, barely alive, lies open-mouthed..." ['And Pike, a little alive, lies with his mouth opened...'] (Ivan Krylov).
March 31, 2020 08:35
Translation from Russian into English: March 31, 2020 09:39.
Владимир Владимирович Залесский 'Креативные рынки в семейном разрезе. Литературно-историческая заметка'.