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Culture and Art
Reference:
Khrenov, N. A.
The Project of Semiotics of Cinema Several Decades
Later: Interpretation of Sergei Mikhailovich
Eizenshtein’s Theoretical Heritage by Vyacheslav
Vsevolodovich Ivanov
// Culture and Art.
2014. № 6.
P. 634-652.
URL: https://en.nbpublish.com/library_read_article.php?id=65701
Khrenov, N. A. The Project of Semiotics of Cinema Several Decades
Later: Interpretation of Sergei Mikhailovich
Eizenshtein’s Theoretical Heritage by Vyacheslav
Vsevolodovich Ivanov
Abstract:
The article is devoted to the semiotic interpretation of the theoretic heritage of a film
director Sergey Eizenshtein by Vyacheslav Ivanov whose jubilee was celebrated this year. Sergey
Eizenshtein foresaw the structural methodology that became so popular after the 60s. Vyacheslav
Inavov has a wide range of academic interests. The present article is devoted only to his interest
towards cinematograph, in particular, the theoretic heritage of a film director Sergey Eizenshtein.
Vyacheslav Ivanov is interested in Eizenshtein because Vyacheslav Ivanov believes that Eizenshtein
tended to see cinema as a language or, more specifically, a sign system. Vyacheslav Ivanov couldn’t
have left it without attention because the formation of semiotic methodology is closely related to Eizenshtein
in Russia. So it is quite natural that Vyacheslav Ivanov wanted to interpret the pre-history
of semiotics, too. In cinematograph such pre-history is directly related to Sergey Eizenshtein. Trying
to clarity the significance of Vyacheslav Ivanov’s research of Sergey Eizenshtein’s esthetics, the
author of the present article also touches upon applying semiotic methodology to cinematograph
as a sign system in general. For this purpose, the author describes the atmosphere of those times
when Russian theorists of cinematograph were interested in semiotics. However, interest towards
structuralism and semiotics started to fade away decades later when new approaches related to
pot-structuralism and post-modernism were introduced by the humanities. Some theorists started
to speak against semiotic approaches and suggested to apply philosophical and, in particular, phenomenological
approach to studying cinematographic art. These approaches are appropriate and
efficient, however, they do not replace the semiotic approach. The author of the article shows that
such attempts to refuse from the semiotic approach to cinematograph were too early and superficial.
Vyacheslav Ivanov’s works on cinematograph are a great source that proves the efficiency of
the philosophical approach. In particular, Vyacheslav Ivanov’s book ‘Eizenshtein’s Esthetics’ is devoted to this topic. Interpreting the meaning of the title, the author of the present article shows that
the concept of semiotics was already created at the initial stage of the development of esthetics as a
branch of philosophy.
Keywords:
Semiotics, linguistics, structuralism, phenomenology, esthetics, language, cinema, sign system, formal school, culture of grammar, culture of text.
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