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Relationships between culture and society : a political and economic context for Eisenstein's early workHerlich, Bram Stephen. January 1977 (has links)
No description available.
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O cinema teatral de Eisenstein : década de 1920Rodrigues, Damiana Cerqueira Campos January 2007 (has links)
Dissertação (mestrado)-Universidade de Brasília, Departamento de Artes Visuais, Instituto de Artes, Brasília, 2007. / Texto liberado parcialmente pelo autor. Conteúdo: Sumário, Resumo, Abstract, Introdução, Conclusão, Referências Bibliográficas, Filmografia de Eisenstein, Galeria de Imagens. / Submitted by Mariana Fonseca Xavier Nunes (nanarteira@hotmail.com) on 2010-09-18T02:45:44Z
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2007-Damiana Cerqueira Campos Rodrigues.pdf: 2638761 bytes, checksum: 63e4e92243ec1e88479af6ec13f8f6b3 (MD5) / Esta dissertação investiga a aparente dicotomia entre cinema e teatro, suas relações e oposições, bem como os reflexos da experiência teatral de Sergei M. Eisenstein em seus filmes. São analisados os artigos teóricos de Eisenstein, escritos na década de 1920, onde o diretor aborda assuntos pertinentes ao teatro e ao cinema, assim como sua produção cinematográfica e teatral da década, de forma a identificar e discutir as relações existentes entre teatro e cinema em sua obra prática e teórica enquanto cineasta. _____________________________________________________________________________________ ABSTRACT / This study investigates the apparent dichotomy between cinema and theater, their relations and oppositions, as well as the reflexes of the theatrical experiences of Sergei M. Eisenstein in his films. Eisensteins theoretical essays written on 1920s where the director discuss subjects refering to theater and cinema, as well as his films and theatrical productions of the decade are analized, in order to identify and discuss the existent relations between theater and cinema in his practical and theorical work as a filmmaker.
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Relationships between culture and society : a political and economic context for Eisenstein's early workHerlich, Bram Stephen. January 1977 (has links)
No description available.
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The Formation of a Theory on Screenplay Imaging Through the Adaptation of Eisenstein's Principles of MontageGonzalez, Marlina Feleo 08 1900 (has links)
The purpose and problem of this thesis is to formulate a theory on screenplay aesthetics with Eisenstein's montage as the mother theory providing the aesthetic nourishment for the proposed concept of imaging. The theory of screenplay imaging proposes that the screenplay is a montage of sub-narratives occurring in the sensual, emotional, and intellectual dimensions and expressing the grand narrative theme. It further suggests that the interaction between the screenplay and the reader-interpreter should yield a prolificity of interpretation with a unified meaning. The thesis consists of five chapters. Chapter I, Introduction, lays the background for subsequent arguments. Chapter II, The Principles of Montage, discusses Eisenstein's theory. Chapter III, The Theory of Imaging, explains imaging and develops Gonzalez's Model of Imaging. Chapter IV, The Principles of Sensual, Emotional, and Intellectual Imaging, explains the three dimensions with examples. Chapter V, Conclusion and Recommendation, suggests improvements and applications of the theory.
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A rationalization of the paradox of the individual in a collective society : Eisenstein and Melnikov in early Soviet RussiaBloomer, Jennifer Allyn 12 1900 (has links)
No description available.
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O monólogo interior para EisensteinRabello, Marcela Tamm 22 February 2013 (has links)
Dissertação (mestrado)—Universidade de Brasília, Faculdade de Comunicação Social, Programa de Pós-Graduação em Comunicação, 2013. / Submitted by Alaíde Gonçalves dos Santos (alaide@unb.br) on 2013-06-10T12:39:07Z
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2013_MarcelaTammRabello.pdf: 1013138 bytes, checksum: ec5fc229cf49184d3f40df140e64a82b (MD5) / Esta dissertação trata da teoria do monólogo interior de Serguei M. Eisenstein, cineasta e teórico russo. A fim de acompanharmos as reflexões de Eisenstein acerca do monólogo interior no cinema relacionamos tanto o recurso quanto a obra do cineasta e teórico russo ao contexto das vanguardas artísticas do início do século XX, principalmente o construtivismo russo. Ao considerar as reverberações do monólogo interior em outras linguagens artísticas, constatamos como o cinema e a teoria de Eisenstein estão inseridas em um movimento muito maior que abarca transformações em variadas formas de expressão que seguem se intensificando até os dias de hoje. _______________________________________________________________________________________ RÉSUMÉ / Cette dissertation a pour sujet la théorie du monologue intérieur de Serguei M. Eisenstein, cinéaste e théoricien russe. Pour accompagner les reflexions d’Eisenstein sur le monologue intérieur dans le cinéma, nous mettons en rapport aussi bien cette forme d’expression que l’oeuvre du cineaste et theoricien russe avec le contexte des avantgardes artistiques du début du XX ème siècle, notamment le Constructivisme Russe. En considerant les maniféstations du monologue intérieur dans des autres langages artistiques, nous constatons que le cinéma et la théorie d’Eisenstein s’insèrent dans un mouvement beaucoup plus grand qui concerne des transformations dans multiples formes d’expressions qui s’intensifient jusqu’aux jours actuels.
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Eisenstein : dialogos orientaisViana, Soraia Conceição 29 June 2001 (has links)
Orientador: Lucia Nagib / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-07-28T16:54:01Z (GMT). No. of bitstreams: 1
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Previous issue date: 2001 / Resumo: Elementos da cultura japonesa e chinesa contribuíram para as formulações da proposta de cinema de Sergei Eisenstein. O percurso da análise focaliza: o teatro japonês Kabuki, destacando sua proximidade com a proposta de cinema sonoro de Eisenstein; as gravuras ukiyo-e de Sharaku, associadas ao modo como Eisenstein explora os fragmentos de imagens para obter determinados efeitos; o teatro chinês de Mei Lan-fang, com sua proposta de um espetáculo que unifica os elementos cênicos, estimulando os diversos sentidos do espectador; e, finalmente, a analogia que Eisenstein faz da sua proposta de montagem no cinema com a milenar linguagem ideogramática chinesa. Há evidências dos diálogos de Eisenstein com esses elementos da cultura oriental em várias seqüências de seus filmes. A localização deles no filme Outubro (1928) facilita a compreensão do modo como Eisenstein estruturou sua proposta singular e revolucionária no campo das elaborações cinematográficas / Abstract: Not informed. / Mestrado / Multimeios
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Soviet montage cinema as propaganda and political rhetoricRussell, Michael January 2009 (has links)
Most previous studies of Soviet montage cinema have concentrated on its aesthetic and technical aspects; however, montage cinema was essentially a rhetoric rather than an aesthetic of cinema. This thesis presents a comparative study of the leading montage film-makers – Kuleshov, Pudovkin, Eisenstein and Vertov – comparing and contrasting the differing methods by which they used cinema to exert a rhetorical effect on the spectator for the purposes of political propaganda. The definitions of propaganda in general use in the study of Soviet montage cinema are too narrowly restrictive and a more nuanced definition is clearly needed. Furthermore, the role of the spectator in constituting the rhetorical effectivity of a montage film has been neglected; a psychoanalytic model of the way in which the filmic text can trigger a change in the spectator’s psyche is required. Moreover, the ideology of the Soviet montage films is generally assumed to exist only in their content, whereas in classical cinema ideology also operates at the level of the enunciation of the filmic text itself. The extent to which this is also true for Soviet montage cinema should be investigated. I have analysed the interaction between montage films and their spectators from multiple perspectives, using several distinct but complementary theoretical approaches, including recent theories of propaganda, a psychoanalytic model of rhetoric, Lacanian psychoanalysis and the theory of the system of the suture, and Peircean semiotics. These different theoretical approaches, while having distinct conceptual bases, work together to build a new and consistent picture of montage cinema as a propaganda medium and as a form of political rhetoric. I have been able to classify the films of Kuleshov, Eisenstein and Pudovkin as transactive, vertical agitation propaganda and the films of Vertov as transactive, horizontal agitation propaganda. Furthermore, I show that montage cinema embeds ideology in the enunciation of its filmic text, but differs from classical cinema in trying to subvert the suturing process. I conclude that Vertov at least partly created a non-representational cinematography and that he could be regarded as being at least as much a Suprematist film-maker as a Constructivist one.
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Visual strategies in video art : the simulation of traumatic memories / Visuele strategieë in videokuns : die simulering van traumatiese herinneringe / Ditogamaano tsa pono mo botsweretshing jwa bidio : ketsitso ya dikgopolo tse di tletseng manokonokoOdendaal, Marié Antoinette 02 1900 (has links)
Text in English with abstracts and keywords in English, Afrikaans and Sesotho / This was a practice-led study, in which I critically engaged with my own video artwork alongside the video works of three other artists. Selected works of Penny Siopis, Anders Weberg, Maja Zack and mine deal with the notions of memory and trauma. I investigated which visual strategies and techniques derived from film theory are employed in video art to simulate traumatic memories from war conflicts. This research analysed specific theories of Gilles Deleuze and Sergei
Eisenstein to identify how certain film strategies are used in video art to simulate grievous historical events. I explored the way that these events shape postmemory, as theorised by Marianne Hirsch and Cathy Caruth. The theories of Susan Sontag and Jean Baudrillard describe how memory relies on imaginative investment and interpretation, creating a simulation of the past, in which affect takes precedence over accurate and factual portrayal of traumatic events. / Hierdie studie was ’n praktykgeleide studie waartydens ek my eie videokunswerk tesame met diè van drie ander kunstenaars krities ondersoek het. Gekose werke uit my eie stal, diè van Penny Siopis, Anders Weberg en Maja Zack handel oor die begrippe herinnering en trauma. Ek het ondersoek ingestel na die visuele strategieë
en tegnieke voortspruitend uit filmteorie wat in videokuns aangewend word om traumatiese herinneringe van oorlogkonflikte te simuleer. Hierdie navorsing het die spesifieke teorieë van Gilles Deleuze en Sergei Eisenstein ontleed ten einde te identifiseer hoe bepaalde filmstrategieë in videokuns gebruik word om smartlike historiese gebeure te simuleer. Ek het die wyse nagevors waarop hierdie gebeure
post-herinneringe modelleer, soos deur Marianne Hirsch en Cathy Caruth geteoretiseer. Die teorieë van Susan Sontag en Jean Baudrillard beskryf hoedat herinneringe op verbeeldingryke belegging en interpretasie steun om ’n simulasie van die verlede te skep waarin affek voorkeur kry bo die akkurate en feitelike voorstelling van traumatiese gebeure. / Seno e ne e le thutopatlisiso e e eteletsweng pele ke tiragatso, moo ke dirisaneng ka tshekatsheko le tiro ya me ya botsweretshi jwa bidio ke e bapisitse le ditiro tsa bidio tsa batsweretshi ba bangwe ba le bararo. Ditiro tse di tlhophilweng tsa ga Penny Siopis, Anders Weberg, Maja Zack le tsa me di samagana le dintlha tsa kgopolo le manokonoko. Ke sekasekile gore go dirisitswe ditogamaano le dithekenini dife tsa pono tse di tswang mo tioring ya difilimi mo botsweretshing jwa bidio go
etsisa dikgopolo tsa manokonoko a dikgotlhang tsa ntwa. Patlisiso eno e lokolotse ditiori tse di rileng tsa ga Gilles Deleuze le Sergei Eisenstein go supa ka moo ditogamaano dingwe tsa filimi di dirisiwang ka gona mo botsweretshing jwa bidio go etsisa ditiragalo tse di botlhoko tsa hisetori. Ke tlhotlhomisitse ka moo ditiragalo tseno
di bopang segopotso sa morago go ya ka tiori ya Marianne Hirsch le Cathy Caruth.
Ditiori tsa ga Susan Sontag le Jean Baudrillard di tlhalosa ka moo kgopolo e ikaegang ka peeletso ya ikakanyetso le thanolo ka gona, e etsisa dilo tsa maloba, moo e leng gore ditlamorago e nna tsona ditlapele go feta pontsho e e nepagetseng le ya nnete
ya ditiragalo tse di bakileng manokonoko. / Art and Music / M.V.A.
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