Arte e ideología en el cine de S. M. Eisenstein
Bibliographic Data
| ID | 21223789 |
|---|---|
| Authors | Daniel C Narváez Torregrosa (0000-0001-5205-7189, Universidad de Burgos, corresponding author) |
| Year | 2018 |
| Volume | 17 |
| Publication date | 2018-07-10 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Fotocinema Revista científica de cine y fotografía (JOURNAL) |
| Journal identifiers | ISSN: 2172-0150 • E-ISSN: 2172-0150 |
| Publisher | Malaga University (PUBLISHER) |
| DOI | 10.24310/fotocinema.2018.v0i17.5105 |
| OpenAlex | W2892033828 |
| Language | ES |
| References cited | 1 |
Eisenstein, who was born hundred years ago, is considered one of the greatest filmmakers in History. Committed to Bolshevik ideas and as supporter of the October Revolution, he wanted to use film as another vehicle in the awareness of the masses. Although he faced the most orthodox sectors of Stalinism, Eisenstein knew at all times to put into practice a series of theoretical ideas related to sound and color. The implementation of these, not only served for ideological purposes, but also converted their films into authentic works of art. For this, he not only researched in arts and color theory, but also chose to introduce in his work references to other cultures (such as the Kabuki), avant-garde artists (Kandinsky) and musicians such as Prokofiev. The present essay analyzes the connections between Eisenstein and all of them, and specially how he performed these revolutionary ideas
Aesthetics · Art · Art history · Chose · Eisenstein series · Ideology · Literature · Political science · Politics · Supporter · The arts · Visual arts · Cinema History and Criticism · History · Media, Journalism, and Communication History · Photographic and Visual Arts
| Highly cited | No |
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