By Robert Robertson
The pioneering movie director and theorist Sergei Eisenstein is understood for the unrivaled effect his handful of movies have had at the improvement of cinema. much less is understood approximately his striking and wide writings, which current a continent of principles approximately film. right here Robert Robertson explores an important quarter of Eisenstein’s concept: his rules concerning the audiovisual in cinema, that are extra pertinent at the present time than ever prior to with the appearance of electronic technology--music and sound now act as self sufficient variables mixed with the visible medium to supply a really audiovisual consequence. Eisenstein explored in his writings this complicated fascinating topic with extra intensity and originality than the other practitioner. Eisenstein at the Audiovisual is key analyzing for an individual who bargains with the audiovisual in cinema and similar audiovisual varieties, together with theatre, opera, dance and multimedia.
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Extra info for Eisenstein on the Audiovisual: The Montage of Music, Image and Sound in Cinema (International Library of Cultural Studies)
In this scene (featuring an accordionist) he explains that he used ‘Cubism’s use of multi-level space, which was to some extent why I transferred it to cinema’. 60 It is remarkable that both artists found a solution to their formal problems by the use of counterpoint, and in particular fugue. Richter and Eggeling’s meetings with the composer Busoni appear to have had a decisive effect in this respect. Eisenstein’s idea of using counterpoint, and specifically fugue, came from an equally surprising origin: his meetings with a different sort of musician, James Joyce, in Paris in 1930.
93 This approach provides an aspect of fugue which relates it to drama, thereby appealing to the humanistic and socially-conscious aspects of Eisenstein’s work in cinema. It also relates to providing a clear narrative, without redundancy, and an expressive content which for him was always of central importance. Fugue and urban simultaneity Another aspect of the form of fugue is its simultaneity, the vertical combinations of its multiple voices, both in terms of its actual meaning and its possibilities for structural analogies.
Polyphonic painting’ could be realised in various formats, horizontal or vertical, but they all had in common the characteristic that they could not be grasped in a single instantaneous glance. 15 18 EISENSTEIN ON THE AUDIOVISUAL Klee’s watercolour Fugue in Red (1921) is a good example of ‘polyphonic painting’. Here the repetition of various shapes evokes the visual equivalents of canonic imitations, where the echoing of melodic motifs are expressed by the close repetition of shapes in the painting.