Cinema, Tolstoy, and the Black Hundreds.

The article analyzes the history of the distribution of the cinematographic chronicle of Leo Tolstoy's farewell in 1910 in various cities of the Russian Empire. Film censorship in late imperial Russia proceeded from the circulars of the Holy Synod and was guided by the considerations of local authorities. Many films which were censored in Moscow (where the major film studios were concentrated) were blocked by local governors and police authorities. Both feature and documentary films of foreign and domestic origin were banned. Locations of cinemas, duration of screenings, and permissions to show movies during the Lent were controlled by the church. The funeral of the excommunicated writer was not held according to the Orthodox rite, filming was carried out by several film companies (Pate, A. Khanzhonkov, A. Drankov) and in a number of cities the screening of newsreels was prohibited. At the same time, in most places of the Russian Empire, cinematic screenings of Leo Tolstoy's funeral were held, causing a great public response. The article reveals why censorship in different places of the Russian Empire depended on the orders of local administrations, how the authorities in the provinces dealt with the demonstration of newsreels of the farewell to the writer, what was the reaction of the 'plebeian' society, what kind of film initiatives were available from the Black Hundred organizations, and a special case of demonstrating the Tolstoy-related program in Perm is also considered. The analysis of the film press, provincial newspapers and documents of the Perm archives leads to the conclusion that the films about Leo Tolstoy, which were sensational for film studios, distributors and exhibitors, allowed for release by the Police Department of the Ministry of Internal Affairs, have caused alarm and resistance from local authorities. At the same time, the Tolstoy Days were an important event not only for the capital, but also for provincial, district towns, for various social and textual communities. The Days in memory of the writer, organized by cinematic theaters, were an indicator of civic solidarity in the Russian society in the late imperial period.