Moryakova, Zoya Alekseevna

Born in Gzhatsk (now Gagarin, Smolensk region) , parents - Anna Sergeyevna and Alexei Stepanovich Moreyakov. Shortly before the war, the family moved to Moscow and settled in Maryina Roshcha .
After graduating from the Art Faculty of VGIK in 1949, she was accepted to the Mosfilm film studio. The first creative steps came at the peak of the so-called period of little picture . As an assistant to the artist, she happened to work on the then starring Zhukovsky , Far from Moscow , Przhevalsky . In 1951, already an artist, together with others, he participated in murals of pictorial backgrounds in the pavilions, where the "Big Concert" , "Glinka Composer" , "Outpost in the Mountains" , "Silver Dust" were created . Then she met closely with the brothers N. S. and A. S. Renkov, B. K. Gorbachev , G. D. Aizenberg , L. K. Aleksandrovskaya and other cameramen and artists keen on combined shooting . The technologies of the embodiment of miracles on the screen captured Moryakova, promised unlimited scope for imagination and creative independence. Since the late 1950s, she has been constantly collaborating with the operator of combined shooting A.S. Renkov , together with whom she fully managed to realize herself as an artist.

The experience of painting murals came in handy in combined shootings, where, in addition to owning a variety of pictorial techniques, required the involvement of archival and iconographic materials, a broad outlook and intuition.

By the method of subsequent drafting , scenes of historical and fairy-tale paintings, such as “Walking Over Three Seas” , “Khovanshchina” , “Sampo” , “The Tale of Lost Time” and others, were solved. In Emelyan Pugachev, viewers saw, for example, views of the lost Kazan of the 18th century on the eve and during the battle of the Peasant War .

The stage work on the “Tale of Tsar Saltan” in 1967, which absorbed the entire arsenal of methods and techniques of combined shooting, did not go unnoticed among professionals. Until now, publications have appeared in the world that put this work among the most successful in this field ^[2] .

In 1971, preparing with the cameraman A. S. Renkov to solve new creative problems in the film “The Commander of the Happy Pike,” they came up with and then the first to put into practice the original way of combined “underwater” shooting:
A. Renkov, together with the artist Z. Moreyakova, makes a paradoxical decision: to rent a boat not under water, but over water and not in the pool, but in the pavilion. For this, a water tray was installed on the floor of the pavilion. A large white background, which is reflected in the water, was attached to the wall. The model of the submarine, rotated 180 degrees, was fixed on special extensions, which in turn were fixed on the monorail carriage moving on the ceiling of the pavilion. The camera, also rotated 180 degrees, was mounted on a small camera crane, which allowed it to accompany the movement of the layout. Mines were hung on thin ropes from the ceiling of the pavilion. As a result, the screen created a complete illusion of shooting the movement of a submarine through a minefield, with the projection of its hull onto the water surface.

Shortly after the film was released, a large-scale exposition was launched in one of the pavilions of the Exhibition of Economic Achievements with a clear demonstration of the method of shooting an inverted model of the Shch-721 submarine surrounded by underwater mines.

In 1979, the operator and the artist were awarded medals of the Exhibition of Economic Achievements of the USSR ^[4] .

One of the last was the popular science film “The Fairytale World of Alexander Ptushko ” of 1988 according to the script of A. Zakharov with the pictures of the director-storyteller assembled together, five of which Renkov and Moryakova worked in pairs - a peculiar result of their creative activity.

A significant part of the sketches, as well as the artist’s drawings, are now kept in the funds of the Museum of Cinema ^[5] , and some in private collections.

The graphic works of Moryakova participated in the exhibitions of the Tretyakov Gallery on Krymsky Val ^[6] , VDNH , the North Sea Museum of the History of the City and Navy ^[7] .

She was buried at the Khovansky cemetery in Moscow near her parents.

From the early period, an incomplete list of paintings on which Z. A. Moryakova worked was given: due to the need to print many hundreds of film distribution copies, a lot of cinematic specialties were initially not included in the credits to save film. In addition, in the 1940-1950s

... the combinators were not considered members of the film crew and were allocated in a separate category, with a separate estimate and schedule.

- Nina Sputnitskaya, "The Art of Cinema" ^[8]

In 1985, an author’s certificate was obtained from the USSR State Committee for Inventions and Discoveries on a new method of combined underwater surveys based on the painting “Commander of the Happy Pike” in 1971 ^[9] , ^[10] , ^[11] , ^[12] .

The luminous flux directed to the dynamic surface of the water, when reflected from it, illuminates the models of the submarine, mines, background and other objects. This creates a complete illusion of the natural illumination of objects under water with light penetrating through its dynamic surface. Orientation of the camera and objects in the same position relative to the dynamic surface of the water during the process of filming allows you to get a direct image on the film.

- from the description of the combined underwater shooting method ^[13]

• 1979 - badge of distinction medal VDNH USSR
• 1990 - the honorary title " Honored Artist of the RSFSR " - For merits in the field of Soviet art (Decree of the Presidium of the Supreme Council of the RSFSR of January 3, 1990 "On the awarding of honorary titles of the RSFSR to creative workers") ^[1] .

• Zoya Moryakova on the Internet Movie Database
• The history of cinema
• Encyclopedic project “Persons”
• Cinema: Encyclopedic Dictionary / Ch. ed. S. I. Yutkevich, Moscow, Soviet Encyclopedia, 1987.- p. 527-528
• Zoya Moryakova, “The Matte painting Encyclopaedia” by Domingo Lizcano
• Maria Bogdanova. Miracles without miracles (Russian) // Change . - 1981. - No. 20 . - ISSN 0131-6656 .
• Pluzhnikov B.F. The Art of Combined Filming / V. S. Bogatova. - A manual for students of VGIK. - M .: Art , 1984. - S. 183. - 271 p. - 10,000 copies.