title: Introduction
metadata.name: dc.contributor.author
metadata.value: Neuberger, J.
metadata.lang: -
metadata.name: dc.date.accessioned
metadata.value: 2021-06-07T15:52:48Z
metadata.lang: -
metadata.name: dc.date.available
metadata.value: 2021-06-07T15:52:48Z
metadata.lang: -
metadata.name: dc.date.issued
metadata.value: 2021-03
metadata.lang: -
metadata.name: dc.identifier.citation
metadata.value: Neuberger J. ‘Introduction’, Modern History of Russia, vol. 11, no. 1, 2021, pp. 214–221.
metadata.lang: en_GB
metadata.name: dc.identifier.other
metadata.value: https://doi.org/10.21638/11701/spbu24.2021.114
metadata.lang: -
metadata.name: dc.identifier.uri
metadata.value: http://hdl.handle.net/11701/29228
metadata.lang: -
metadata.name: dc.description.abstract
metadata.value: Eisenstein’s Ivan the Terrible is hardly an obscure film, but it has attracted much controversy and many
  misconceptions. The goal of this book is to re-examine the film in light of everything Eisenstein wrote about it. The
  introduction to the roundtable establishes the historical, political, cinematic, biographical, and cultural contexts
  that shape the book’s multi-disciplinary approach to Eisenstein’s work on Ivan the Terrible. The director structured
  the story of Ivan’s life and reign in an “interrogative mode” in order to raise profound questions about the nature
  of violence and tyranny and the psychology of political ambition in Russia’s past, in the Stalinist present, and in
  the history of state power more broadly. Eisenstein conveyed the history and psychology of power and the inner
  life of the powerful with a profusion of new cinematic methods that represented the evolution of his thinking about
  montage. “Polyphonic” montage — the weaving together of audio, visual, sensory, emotional, and intellectual
  voices—was intended to activate and intensify the spectator’s experience of watching a film; to touch, move, and
  enlighten the audience in an all-encompassing, transformative way. By approaching Eisenstein’s dynamic theories
  of history, visual perception, and cultural evolution in relation to one another, this study uncovers a decisive
  piece: Eisenstein didn’t only want to show the tragic depredations of absolute rule or the universality of power
  hunger, and he didn’t only want to create a moving emotional experience for viewers.
metadata.lang: en_GB
metadata.name: dc.language.iso
metadata.value: en
metadata.lang: en_GB
metadata.name: dc.publisher
metadata.value: St Petersburg State University
metadata.lang: en_GB
metadata.name: dc.relation.ispartofseries
metadata.value: Modern History of Russia;Volume 11; Issue 1
metadata.lang: -
metadata.name: dc.subject
metadata.value: Eisenstein
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: Ivan the Terrible
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: Stalin
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: cinema
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: montage
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: polyphonic
metadata.lang: en_GB
metadata.name: dc.title
metadata.value: Introduction
metadata.lang: en_GB
metadata.name: dc.type
metadata.value: Article
metadata.lang: en_GB
resources.filename: 214-221.pdf
resources.url: https://dspace.spbu.ru/bitstream/11701/29228/1/214-221.pdf
resources.format: Adobe PDF
resources.size: 1,17 MB