В статье исследуются массовые сцены, способы и приемы создания на киноэкране образа массы, анализируются когнитивные элементы массовой психологии как во время съемки, так и в жизни, а также процессы коммуникации зрителя с фильмом, способность аудиовизуального произведения воздействовать на процесс формирования коллективной идентичности. Массовые сцены рассматриваются как эффективный способ управления и манипуляции сознанием зрителя.
The essay explores the significance of mass scenes in the historyof cinema. It analyzes the directorial style of Sergei Eisenstein and his conceptthat the human mass becomes observable only with the invention of cinema.The image of the mass is created by the editing. Long shots transform thereal human mass into an infinitely growing mass, while close-ups destroy itsimage. Film editing involves the audience in the creation of the mass: eachforeshortening offers a new vision of the people united in the mass. Mass scenesof the film allow the spectator to become infected with the ideas of the mass andto experience the increase in emotions inherent in a crowd. The film appealsto the spectator whose properties are predetermined. The spectator agrees tothe viewing conditions dictated by the film and dissolves in the spectacle. Thefull involvement of the spectator in what he sees on the film screen is the mainfeature of cinema. Therefore, the manipulation of the spectator’s consciousnessduring the film screening is inevitable. Due to the psychological characteristicsof their perception, mass scenes are one of the most powerful ways to controlthe spectator's emotional and intellectual reactions.
The authors declare that there are no conflicts of interest present.