In the mid-1960s, Sobolev revolutionized the concept of popular science cinematography. His films (1967), (1969) and (1968) were broadly popular, selling out cinemas. His "experiment in the frame" technique made the audience member a witness to experiments proposed by scientists. By the 1970s, Sobolev became disillusioned with the physical sciences, according to his student
Alexander Rodnyansky, and began to make films about psychology. Radical for its time, his 1971 film made the audience part of an experiment on
conformal behaviour and
group pressure. The direction of his work changed with the 1974 short film , a film essay about the world and a person's place in it. This was followed by the 10-minute film
Feat which was shot in close quarters. Both films made intensive use of combined filming and had significant impact on the development of non-fiction films of the time. Sobolev also influenced a generation of students at the Institute of Theatre Arts and young directors at Kievnauchfilm, where he was the undisputed leader. These included Rodnyansky, , ,
Yosif Pasternak, and
Andrei Zagdansky. In
Cinema Art, Sergey Trimbach writes that Sobolev was at the center of one of the two great film movements in Kyiv in the 1960s and 1970s. The other circle was led by Armenian filmmaker
Sergei Parajanov, who was censured as his cinematic style opposed Soviet principles. In contrast, Sobolev continued the tradition of Russian intelligentsia, believing in the endless potential of human capabilities, as in his 1978 film
Dare, you are talented. Yet, he was not politically motivated, basing
Exploded Dawn on the work of a dissident and taking political risks by examining conformity and free thought in
Me and Others. Sobolev came into conflict with the party committee over
Kyiv Symphony (1982), the last film he completed, which was re-edited seven times to meet political demands and left Sobolev angry and with a damaged reputation. ==Filmography==