The Possibilities of Theatrical Montage (Successive and Simultaneous)

1995 ◽  
Vol 36 (1) ◽  
pp. 77-86
Author(s):  
Zdeněk Hořinek
Keyword(s):  
Film Theory ◽  
Sergei Eisenstein ◽  
New Meanings ◽  
The Aesthetic

The aesthetic concept of montage finds its origins in film and film theory. Montage, as understood by Sergei Eisenstein, is not only a mechanical linking at random, a “sticking together” of pictures from scenes and shots. The basis of montage is dramatic and dialectical; among the elements of the montage chain there are contradictory relationships, and from these new meanings develop what the separate elements do not contain. “Any two pieces, put side by side, are inevitably linked together and form a new idea, which arises from this comparison as a new quality.” The inception of new meanings through a mere connection of parts arises from the perception of a montage of parts as one unit, even though the connection was only arbitrary.

scholarly journals КОМУНІКАТИВНІ СТРАТЕГІЇ ДМИТРА ДОНЦОВА

2020 ◽  
pp. 42
Author(s):  
V. Kolkutina
Keyword(s):  
Public Speaking ◽  
Critical Discourse ◽  
Semantic Level ◽  
New Meanings ◽  
History Of ◽  
The Aesthetic ◽  
Communicative Strategy ◽  
Rhetorical Questions ◽  
Literary Phenomenon ◽  
Communicative Processes

<div><em>Dmitry Dontsov’s communicative strategy is explored in the article, taking into account the national and philosophical ideas inherent to his thinking. Grounding on the material of the literary-critical essays of the publicist, it turns out that Dontsov’s communicative strategy according to the content is ethosophysical and holistic. It’s a national-existential phenomenon in the history of Ukrainian literary studies of the twentieth century. The communicative processes reflected in the essays «Crisis of our literature», «Our literary ghetto» are formed in a single communicative paradigm and include: the event, communicative situation, intonational tone, axiological author’s commentary and a special national-centric and hermeneutical way of representation of the situation.</em></div><p><em>The nationalist interpretation of the thinker is essentially national-philosophical (national), but at the same time it is literary with typical for this kind of experience, with the predominance of coherently-semantic level of cognition and evaluation over the formal-aesthetic. As a result of cognition happends the transcoding of an idea from the language of art into the language of philosophy in the search of the national-philosophical equivalent of a literary phenomenon. In most cases, this is based on two intentions: the search for protection and assertion of one’s own national identity, and the cultural and political realization of the national idea. At the same time, the aesthetic level of a literary phenomenon is evaluated. </em></p><p><em>The following characteristics of the literary-critical text are highlighted and substantiated: the text as a receptive expression that can be interpreted freely, conceptually transforms information, constructing new meanings through interesting dialogical models, rhetorical questions, pre-planned line of speech behavior, public speaking behavior, which is necessarily intended to avoid any one-sided narrative or ambiguity of perception, openness and comprehension.</em></p><p><strong><em>Key words:</em></strong> <em>communicative strategy, text, literary-critical discourse, communicative processes, national philosophy, hermeneutics.</em></p><p><strong> </strong></p>

The Rhetoric of Madness in Realist Film Theory

2016 ◽  
Author(s):  
Temenuga Trifonova
Keyword(s):  
Mental Illness ◽  
Anxiety Disorders ◽  
Film Theory ◽  
Physical Reality ◽  
Affective States ◽  
Psychological Study ◽  
The Past ◽  
Film Reception ◽  
Points Of View ◽  
The Aesthetic

This chapter explores the rhetoric of madness and mental illness informing realist film theories. Hugo Münsterberg, author of the first work of film theory, The Photoplay: A Psychological Study, considered the following several features—reminiscent of the symptomatic language of dissociative identity disorder—essential to cinema: decentralization (the ability to assume alternate points of view), mobility (the ability to invert the past and the present, the real and the virtual), and derealization and disembodiment (characteristic of film reception). Epstein’s revelationist aesthetic and Balázs’s anthropomorphic film theory are both informed by animistic beliefs, translating into the realm of the aesthetic the symptoms of various types of delusional and anxiety disorders characterized by the inability to distinguish the living from the non-living. In Kracauer’s Theory of Film affective states commonly perceived as symptomatic of madness or mental illness—detachment from reality, ennui, melancholy, distraction, and disinterestedness/apathy—are posited as necessary to film’s ‘redemption of physical reality’. This chapter explores these and other formulations, focusing on Kracuer’s Theory of Film.

Beckett Et Les Premières Théories Cinématographiques

2007 ◽  
Vol 17 (1) ◽  
pp. 331-350
Author(s):  
Matthijs Engelberts
Keyword(s):  
Film Theory ◽  
Sergei Eisenstein ◽  
The Sixties

This article examines the influence of early film theories, those of the 1920s and '30s, on the first scenario for the screen – and the only strictly cinematographic work – written by Beckett : In spite of the facts known thanks to his correspondence, for example Beckett's reading in the 1930s of texts published by Rudolf Arnheim, Vsevolod Pudovkin and Sergei Eisenstein, and in spite of the attention that critics, including Deleuze, have given to Beckett's works for the cinema and television, Beckett's use of these modernist film theories has not been analyzed structurally. Color, sound, close-up : these three hotly debated issues are re-examined by Beckett in the sixties, largely along the lines of early film theory.

The Eisenstein-Vygotsky-Luria Collaboration

Projections ◽  
2019 ◽  
Vol 13 (1) ◽  
pp. 23-44 ◽  
Author(s):  
Julia Vassilieva
Keyword(s):  
Crucial Role ◽  
Cultural Psychology ◽  
Film Theory ◽  
Theory And Practice ◽  
Functional Architecture ◽  
Cultural Mediation ◽  
Sergei Eisenstein ◽  
Lev Vygotsky ◽  
Russian Film ◽  
The Brain

This article analyzes the unique historical collaboration between the revolutionary Russian film director Sergei Eisenstein (1898–1948), the cultural psychologist Lev Vygotsky (1896–1934), and the founder of contemporary neuropsychology, Alexander Luria (1902–1977). Vygotsky’s legacy is associated primarily with the idea that cultural mediation plays a crucial role in the emergence and development of personality and cognition. His collaborator, Luria, laid the foundations of contemporary neuropsychology and demonstrated that cultural mediation also changes the functional architecture of the brain. In my analysis, I demonstrate how the Eisenstein-Vygotsky-Luria collaboration exemplifies a strategy of productive triangulation that harnesses three disciplinary perspectives: those of cultural psychology, neuropsychology, and film theory and practice.

scholarly journals Life in Movement: A French Impressionist Critical Approach to Terrence Malick's Films

2021 ◽  
Author(s):  
Matthew Johnson
Keyword(s):  
Conceptual Framework ◽  
Film Theory ◽  
Tree Of Life ◽  
Natural Light ◽  
Scholarly Work ◽  
Critical Approach ◽  
Thin Red Line ◽  
Theory And Criticism ◽  
The Aesthetic ◽  
Red Line

<p>Terrence Malick’s films from Badlands (1973) to The Tree of Life (2011) have generally received critical praise, as well as being the focus of detailed scholarly work. By contrast, his more recent films, what Robert Sinnerbrink refers to as the “Weightless trilogy” with To the Wonder (2012), Knight of Cups (2015) and Song to Song (2017), have been widely criticised and have been largely neglected academically. This thesis endeavours to situate the aesthetic features of these three films within a conceptual framework based in French Impressionist film theory and criticism. I will argue the ways in which these three films use natural light, gestures, close-ups, kinetic images and complex editing in relation to Germaine Dulac’s notions of pure cinema and Jean Epstein’s concept of photogénie. Moreover, these ideas can also be applied to films such as Days of Heaven (1978), The Thin Red Line (1998) and The Tree of Life. Thus, it is my contention that despite the significant changes to his filmmaking style evident in the Weightless trilogy, he remains a highly poetic director interested in the interior lives of his characters and the rhythms of life. </p>

scholarly journals PECULIARITIES OF INTERTEXT AND INTERCULTURE PARADIGM OF JOSEPH ROT PROSE

2019 ◽  
pp. 283-291
Author(s):  
T. P. Monolatii
Keyword(s):  
Theoretical Approach ◽  
Literary Work ◽  
Human Existence ◽  
Narrative Strategy ◽  
Additional Dimension ◽  
Good Representative ◽  
The Arts ◽  
New Meanings ◽  
The Aesthetic ◽  
Joseph Roth

The article analyses interpretation of Joseph Roth prose in the context of intertextuality as a literary means. It is determined by the author’s strategy and studied the aesthetic issues that are fundamental to his work. Intertextuality proves a postmodern phenomenon of reinterpretation of classic and new texts, giving them new meanings and establishing parallels with modern literature, which is reflected in an adequate interpretation of their genre and stylistic forms, the interpretation of philosophical concepts, iconic fictional and aesthetic phenomena. So in fiction there is an additional dimension – intercultural component of the artistic world of the text. This theoretical approach is extremely productive, especially in the study of works of those authors; the arts are rooted in different spheres of human existence, formed on the border of their own cultures, languages, historical and national traditions. A good representative of “intercultural” narrative strategy is Joseph Roth. Thus, under conditions of intertextual interaction, the literary work becomes part of a broad intertextual space that covers not only literary, but also outside of literature forms of expression, and any text is in various “dialogical” relations with other texts that fill this space with different language codes that are represented in this space.

Twofoldness in Moving Images

Projections ◽  
2020 ◽  
Vol 14 (3) ◽  
pp. 1-20
Author(s):  
Joerg Fingerhut
Keyword(s):  
Visual Experience ◽  
Film Theory ◽  
Aesthetic Appreciation ◽  
Substantial Role ◽  
Moving Images ◽  
The Aesthetic

When watching a film, we are seeing-in moving images. Film’s visual experience is therefore twofold, encompassing a recognitional (the scene presented, the story told, etc.) and a configurational fold (editing, camera movement, etc.). Although some researchers endorse twofoldness with respect to film, there is also significant resistance and misrepresentations of its very nature. This paper argues that the concept is central to an understanding of the basic apprehension and the aesthetic appreciation of film. It demonstrates how twofoldness could play a more substantial role in a new cognitive film theory and a naturalized aesthetics of film. By discussing recent theories of our motor engagement with cinema it shows how referencing to the interplay of two filmic folds could inform such a theory.

Kinesthetic Empathy in Sergei Eisenstein’s Film Theory

2020 ◽  
pp. 175-235
Author(s):  
Ana Hedberg Olenina
Keyword(s):  
William James ◽  
Film Theory ◽  
Avant Garde ◽  
Psychological Theories ◽  
Political Implications ◽  
Soviet Psychology ◽  
Kinesthetic Empathy ◽  
The Aesthetic ◽  
The 19Th Century ◽  
The Brain

Chapter 4 explores Sergei Eisenstein’s theory of the audience’s corporeal empathy, evoked by actors’ movements and graphical, nonhuman “gestures”—that is, “movements” implied by the structure of the shot composition, editing, and other formal devices. In scrutinizing Eisenstein’s theory that spectatorship is, fundamentally, an enactive experience, this chapter traces the roots of his ideas and evaluates the aesthetic and political implications of his position. First, I analyze the filmmaker’s engagement with psychological theories of William James, William Carpenter, Vladimir Bekhterev, Alexander Luria, and Lev Vygotsky, as well as the 19th-century German theorists of empathy (Einfühlung). Special attention is devoted to one of Eisenstein’s major sources: Vladimir Bekhterev’s Collective Reflexology (1921), a seminal work of early Soviet psychology, which discussed nonverbal communication in crowds and argued that the processing of visual sensations by the brain instantaneously impacts motor networks. I argue that although Eisenstein’s model of spectatorship appears manipulative, it is also potentially emancipatory. Embracing the utopian spirit of the avant-garde, he was willing to subject himself and his audience to radical experimentation aimed at testing the sensory properties of cinema and demystifying the mass production of emotions.

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