Razvoj Ejzenštejnove estetike in poetike : magistrsko delo

Cizel, Špela (author), Javornik, Miha (mentor)

Magistrsko delo skuša prikazati razvoj poetike in estetike ruskega filmskega režiserja Sergeja Mihajloviča Ejzenštejna (1989-1948). Težnja po odkrivanju novega, neznanega s pomočjo umetnosti, ki se nenehno razvija, je značilnost sovjetskega filma montaže, ki zelo močno zaznamuje dela Ejzenštejna. V prvem delu magistrskega dela avtorica prikaže zgodnji razvoj ustvarjanja Ejzenštejna, ki se je pričel z njegovim delom v gledališču. Velik vpliv na njegovo ustvarjanje je imela tudi japonska kultura, predvsem gledališče kabuki in japonska poezija. Navdušen nad cirkusom in gledališčem kabuki ter pod vplivom biomehanike Meyerholda in razumevanjem montaže D. W. Griffitha je ustvaril svojo montažno teorijo atrakcij. Gre za povezovanje atrakcij v enostavne kontrastne primerjave, ki koncentrirajo čustva občinstva v določeno smer. Primarni mehanizem za ustvarjanje novih asociativnih povezav predstavljajo primerjave slik, ki imajo jasne in močne čustvene asociacije. Princip asociativnosti razvije do konca v zadnji stopnji montaže nemega filma, intelektualni montaži. Avtorica ugotavlja, da je razlika med uporabo montaže v obdobju do leta 1930 in po njem. 'Star' film je bil podrejen literaturi in gledališču, medtem ko išče 'nov' film pot iz te podrejenosti. V Ejzenštejnovem teoretskem ustvarjanju se vidi nadgradnja in razvoj pojmov, h katerim se vrača skozi celoten opus svojega ustvarjanja - atrakcija, ekstaza, patos, čustva, montaža. Po letu 1934, ko je socialni realizem sprejet kot osnovno vodilo za ustvarjanje, se poveča ideološki pritisk na umetnike. Trideseta leta prinesejo tudi pojav zvočnega filma, kar vpliva na nadgradnjo Ejzenštejnove asociativne montaže v vertikalno montažo, kjer ima veliko vlogo avdio-vizualen kontrapunkt. Glavne značilnosti obeh obdobij avtorica predstavi s pomočjo izsekov iz filma Stavka (1928) in Aleksander Nevski (1938).

• Language: Slovenian
• Keywords: ruski film, estetika, poetika, atrakcija, intelektualna montaža, avdio-vizualni kontrapunkt, bolonjski magisteriji
• Work type: Master's thesis/paper
• Typology: 2.09 - Master's Thesis
• Organization: FF - Faculty of Arts
• Place of publishing: Ljubljana
• Publisher: [Š. Cizel]
• Year: 2015
• Number of pages: 47 str.
• PID: 20.500.12556/RUL-98372
• UDC: 791.633-051Èjzenštejn S. M.:111.852
• COBISS.SI-ID: 59044706
• Publication date in RUL: 28.11.2017

Secondary language

Abstract

The master's thesis focuses on the development of the poetics and aesthetics in the work of the Russian film director Sergei Mikhailovich Eisenstein (1989 -1948). The aspiration to discover something unknown and new, through the usage of art in a state of constant development, is characteristic of Soviet montage, which has influenced Eisenstein's work greatly. The first part of the thesis will focus on the early development of Eisenstein's creative process which started with his work in the theatre. Another great influence on his work can be attributed to Japanese culture, namely Kabuki theatre and Japanese poetry. Eisenstein's enthusiasm for the circus and Kabuki theatre, the influence from Meyerhold's biomechanics, and his understanding of D. W. Griffith's theory of montage, created Eisenstein's own montage theory of attractions. Its main idea lies in connecting attractions into basic contrastive comparisons which guide and centre the audience's feelings. The primary mechanism for creating new associative connections is comparing pictures which carry clear and powerful emotional associations. The principle of associativity reaches its pinnacle in the final stage of silent film montage - intellectual montage. The difference between the usage of montage before and after 1930 is demonstrated in the thesis. "The old" film was subjugated to literature and the theatre, whereas "the new" film tries to escape that subordination. In Eisenstein's theoretical background, we can clearly see the upgrading and the developing of notions to which he returned throughout his opus - attraction, ecstasy, pathos, emotions, montage. After 1934, when social realism became the basic creative guideline, the ideology started to push down on the artists. The 1930s also brought forth the emergence of sound film, which upgraded Eisenstein's associative montage into vertical montage, in which the audio-visual counterpoint plays a big role. The final part of the thesis will apply the main characteristics of both periods to sections from the film "Strike" (1928) and "Alexander Nevsky" (1938).