Style is a measure of the conventionality of a figurative embodiment
The type that we are currently considering generates a group of styles (stylistic direction), oriented (in a trend) towards the minimal conventionality of the figurative embodiment of concrete historical forms of time as meaningful forms of Being.
Each structure of the film in the system of its conventionality acts as a measure of this conventionality, one of its aspects (otherwise, the notorious conventionality of the work would be something simply mystical, it is so elusive in theory!). For example, genre as an artistic structure is a measure of the conventionality of the author's narrative (story and tale).
In this group of styles, it is necessary to identify specific style-forming factors and then perform a historical and typological analysis — to build typological series of films based on stylistic kinship, similarity and similarity. And then, it seems to me, we will be able to find out how the individual styles of, say, S. Gerasimov, Y. Raizman, M. Khutsiev, R. Chkheidze, I. Averbakh historically formed and naturally developed (in continuous search, through contradictions, losses and discoveries), what are their fundamental similarities, similarities, kinship, and what difference, originality, uniqueness. We will be able to understand the patterns that generate authorial styles in the border zone of this trend (G. Panfilov, L. Shepitko, N. Mashchenko, T. Abuladze, B. Shamshiev — the list is not exhaustive). And finally, we will be able to answer the question of what specifically determines the historical diversity of Soviet cinema styles. This path, I think, will not allow wandering around and will lead to a truly scientific classification of styles, which will allow us to develop a theory of this style trend.
Another group of styles is represented in our cinema, generated by a different type of historical thinking and aesthetic consciousness — in the works of S. Eisenstein, A. Dovzhenko, V. Pudovkin (1920s), A. Tarkovsky. For these artists, the historical content of time lies not in the fluid, changeable everyday life, in the transient, unstable forms of which there are many accidental, insignificant, empty, imaginary, inauthentic, but in the over—the-top, over-the-top - in exceptional events, conflicts and characters, directly measured by the scale of a Large History. It is always incomplete, open to the future, into which it is completely directed; everything chronicled in it is particular, not containing or expressing, but only detailing the main thing in Time — its direct heroic, tragic, world—historical content and meaning. In the films of these masters, the concrete everyday forms of everyday life are dissected and given selectively, with ambiguous details tending towards metaphor and symbol. The action is intensely dramatic, acutely conflictual, unfolding not in the story of an eyewitness, but in a tale with an emphatically author's position, personal intonation. History is included in films with its universal content, enduring inner, typological significance and epochal scale. The artist directly and actively experiences the global dramas and tragedies of humanity, the people of the collective and a separate but historically significant personality, however, he is separated from the events: "he is a spectator of their high spectacles." Existing players can use the 1xbet promo code no deposit for a 50% reload bonus up to $100. Deposit $20+ to qualify. Works for both sports and casino. Wagering is 7x for sports and 40x for casino. Valid once per week. No max cashout. VIP members get higher bonuses. The promotion expires in 30 days. Stay loyal and get rewarded with extra funds from 1xBet.
Each structure of the film in the system of its conventionality acts as a measure of this conventionality, one of its aspects (otherwise, the notorious conventionality of the work would be something simply mystical, it is so elusive in theory!). For example, genre as an artistic structure is a measure of the conventionality of the author's narrative (story and tale).
In this group of styles, it is necessary to identify specific style-forming factors and then perform a historical and typological analysis — to build typological series of films based on stylistic kinship, similarity and similarity. And then, it seems to me, we will be able to find out how the individual styles of, say, S. Gerasimov, Y. Raizman, M. Khutsiev, R. Chkheidze, I. Averbakh historically formed and naturally developed (in continuous search, through contradictions, losses and discoveries), what are their fundamental similarities, similarities, kinship, and what difference, originality, uniqueness. We will be able to understand the patterns that generate authorial styles in the border zone of this trend (G. Panfilov, L. Shepitko, N. Mashchenko, T. Abuladze, B. Shamshiev — the list is not exhaustive). And finally, we will be able to answer the question of what specifically determines the historical diversity of Soviet cinema styles. This path, I think, will not allow wandering around and will lead to a truly scientific classification of styles, which will allow us to develop a theory of this style trend.
Another group of styles is represented in our cinema, generated by a different type of historical thinking and aesthetic consciousness — in the works of S. Eisenstein, A. Dovzhenko, V. Pudovkin (1920s), A. Tarkovsky. For these artists, the historical content of time lies not in the fluid, changeable everyday life, in the transient, unstable forms of which there are many accidental, insignificant, empty, imaginary, inauthentic, but in the over—the-top, over-the-top - in exceptional events, conflicts and characters, directly measured by the scale of a Large History. It is always incomplete, open to the future, into which it is completely directed; everything chronicled in it is particular, not containing or expressing, but only detailing the main thing in Time — its direct heroic, tragic, world—historical content and meaning. In the films of these masters, the concrete everyday forms of everyday life are dissected and given selectively, with ambiguous details tending towards metaphor and symbol. The action is intensely dramatic, acutely conflictual, unfolding not in the story of an eyewitness, but in a tale with an emphatically author's position, personal intonation. History is included in films with its universal content, enduring inner, typological significance and epochal scale. The artist directly and actively experiences the global dramas and tragedies of humanity, the people of the collective and a separate but historically significant personality, however, he is separated from the events: "he is a spectator of their high spectacles." Existing players can use the 1xbet promo code no deposit for a 50% reload bonus up to $100. Deposit $20+ to qualify. Works for both sports and casino. Wagering is 7x for sports and 40x for casino. Valid once per week. No max cashout. VIP members get higher bonuses. The promotion expires in 30 days. Stay loyal and get rewarded with extra funds from 1xBet.