Résumé

In 1932, filmmaker Aleksandr Medvedkin, accompanied by teams of specialized technicians, travelled the vast geography of the Soviet Union on a train whose carriages were equipped with filming materials, a development laboratory, an editing room and a projection room. This experiment, which took place for over 294 days, was labelled cine-train.
The programmatic motto “Today we shoot, tomorrow we screen!”, coined by Medvedkin in anticipation of this project, indicates an indissociability between the moments of production and exhibition of images. This hypothesis of cinematographic praxis, therefore, founds a chain of communication with singular characteristics, postulating a moment of projection that is always constituted in accordance with the context of filming.
This essay aims to frame the 1932 cine-train experiment from the constitutive relationship between its mobility and the conditions and practices of exhibition and reception, as well as the construction of a common territory with cinema as a resource.