Music in the Poetics of the Films Directed by S.M. Eisenstein
- 10.2991/assehr.k.200907.059How to use a DOI?
- S.M. Eisenstein, music, screenplay, film editing techniques, counterpoint, Strike, Battleship Potemkin
The article discusses the semantic function of music in the poetics of the films directed by S.M. Eisenstein. Not only did S. Eisenstein implement the musical component of films in practice, but he also conceptualized it in numerous theoretical works. This combination of theory and practice has become the basis for the scientific observations and conclusions of the author in the present article. The article focuses on the following issues within the system of the artistic means of S. Eisenstein’s films: the issues of musical terminology, the technique of the orchestral counterpoint of visual and auditory images, the correspondence of the genres of music and content types in film sequences.
- © 2020, the Authors. Published by Atlantis Press.
- Open Access
- This is an open access article distributed under the CC BY-NC license (http://creativecommons.org/licenses/by-nc/4.0/).
Cite this article
TY - CONF AU - Natalya V. Vinokurova PY - 2020 DA - 2020/09/07 TI - Music in the Poetics of the Films Directed by S.M. Eisenstein BT - Proceedings of the 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020) PB - Atlantis Press SP - 342 EP - 345 SN - 2352-5398 UR - https://doi.org/10.2991/assehr.k.200907.059 DO - 10.2991/assehr.k.200907.059 ID - Vinokurova2020 ER -