Sergei Eisenstein’s Ideas in the Context of Contemporary Cinema. Stereo Film and Stereo Sound

Abstract

he text (continuation of the article “Vestnik VGIK”, No. 3 (41),
2019). deals with the ideas of S.M. Eisenstein, presented by him in the
theoretical work “On Stereoscopic Films”, in the context of the subsequent
development of cinema phonography and modern scientific and theoretical
discussions on the problems of correlation of technological and aesthetic aspects
of cinema art. Eisenstein’s article focuses on and analyzes new and controversial
technical achievements of cinema, but the author’s thoughts reach a high level
of understanding the history and prospects of the development of cinema and
art in general as an expression of the “organic” human need for creative and
artistic activity. Turning to the history of the theater as the forerunner of cinema,
Eisenstein emphasizes the moment of separation of the actor and stage action
from the audience. The director sees the technical possibilities of stereo cinema
as a way of returning the viewer to the space of direct co-action, complete
immersion in the artistic space, integration with the artistic image. Modern
multichannel sound technologies have come close to fulfilling Eisenstein’s dream
of “drawing” the viewer into the screen space and “merging” it with the artistic
creation. But when and to what extent is the use of stereo effects justified, how
do the technological and artistic aspects of film production correlate? These are
issues that are currently the subject of theoretical discourse in the framework of
not only film studies, but also interdisciplinary knowledge, affect the development
of audiovisual concepts in the practice of filmmaking