Music in the Poetics of the Films Directed by S.M. Eisenstein

DOI

10.2991/assehr.k.200907.059How to use a DOI?

Keywords

S.M. Eisenstein, music, screenplay, film editing techniques, counterpoint, Strike, Battleship Potemkin

Abstract

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.

Copyright

© 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/).

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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  -