Sergei Eisenstein's Ideas in the Context of Modern Cinema Art. Audiovisual Counterpoint

Abstract

Sergei Mikhailovich Eisenstein is not only a great filmmaker
but also one of the first theorists of cinema, whose ideas have not lost their
significance to this day. Exploration of Eisenstein’s theoretical heritage reveals
the relevance of many of his propositions based both on the practical experience
of the director and on his theoretical conclusions and even insights.Such ideas
include, in particular, the concept of «audiovisual counterpoint» introduced
by Eisenstein in the famous manifesto «Budushchee zvukovoi fil'my. Zaiavka»
(«Statement on Sound») of 1928. In this manifesto, a number of provisions
expressed the authors' concern about the possible «non-cinematic» use of sound
in films, and at the same time, the future possibilities of sound in cinema. In
particular, it was argued that «only the counter-punctual use of sound in relation
to the visual editing piece gives new opportunities for montage development
and improvement». Subsequently, Eisenstein clarified or even revised some of
the points put forward in 1928. With the experience gained in the sound field
of filmmaking and the logical development of theoretical research, the idea
of audiovisual counterpoint as a cinematic method grows into the problem of
artistic imagery, and the contrasting of image and sound becomes part of the task
of creating polyphonic (polysemantic) audiovisual solutions in a motion picture.
The essay discusses the relevance of Eisenstein's ideas within contemporary
artistic and theoretical contexts.