CINEMATOGRAPHIC INTERPRETATION OF THE HISTORICAL ERA: EISENSTEIN'S ARTISTIC MEANS AND PLOT-IMAGE SOLUTIONS

Teltevskii Ilia Alekseevich

This article analyzes the unique approach of Soviet director S.M. Eisenstein to depicting historical events and figures in motion pictures. This approach is examined within the context of the early 20th-century Soviet cinematography, which involved a departure from pre-revolutionary traditions and the formation of a new ideology in cinematic art. The study presents a critical review of the scholarly literature on Eisenstein's legacy, focusing on the director's innovative montage theories and their influence on world cinema. Central to the work is an art historical analysis of Eisenstein's leading films, including "Strike," "October," "Battleship Potemkin," "The General Line," "Ivan the Terrible," and "Alexander Nevsky." The article analyzes the artistic and expressive means developed by Eisenstein (montage of attractions, intellectual and dynamic montage, light and shadow, frame composition, sound, and music) and his plot-imagery solutions (deep psychological exploration of historical figures, creation of collective images of the masses). The article emphasizes that Eisenstein viewed cinema as a tool for both reconstructing and simultaneously constructing history, as well as for ideological influence on public masses and shaping historical consciousness within his era.

Keywords:Eisenstein, Soviet cinema, film interpretation, historical epoch, montage, artistic means, plot-imagery solutions, ideological influence.