RTV Theory and Practice - Special Issue

This point in the film art was attained by Sergei Mihailovich Eisenstein and his "Montage of Attractions” (here it is conditionally named by this theatre postulate of Eisenstein but is, in апу case, unifying for all that he elaborated later as a "violation of conventional means of treatment of the plot” where ”out of muchanical fusion, plastical synthesis, the attempt develops into a thematic synthesis”; here we racall the ways of his "emotional content of dynamization”, as well as the stated problems of digression of ”literary parallelism” etc. which directly lead to his conception of ideograms and "intellectual film”). When we set aside the mere illustrativeness of the subject (somebody pronounces GaUlei and the image of Galilei appears on the screen, ”starry sky above me” and we see a starry sky, the word ”universe” - the image of the galaxy, etc.) the puestion remains: what corresponds to telegenity and the MEPS? Accordingly, we shall differentiate guantitative and gualitative dynamics. Quantitative dynamics include all film-expressive, i.e. mechanical impulses which we have quoted, as well as illustrativity. To illustration and other quantifications we shall oppose the creative association as a qualitative dynamic category. I would even call it the ”double” creative association, i.e. both on the imaginary and the active side.

1 We are not discussing here the film production for television. It is sufficient to understand that the film production (creation, realisation) on television (and such đistinct tendencies exist) means the degradation of television as a media and reduces it to a simple mechanical reproduction of a complex but primarily mechanical media, where, practically, the electronic TV devices аге being used only to transmit the material of another media. The economist should calculate the consequences of producing films on television without a classical corresponding distribution net of cinemas, with an uncertain possibility for inter-studio or international exchanges, repetitions, doubling of capacities etc., while Averti’s ог Marti’s specifically television creations, made hundred рег cent electronically, make possible the exchanges we mentioned. Naturally, this does not apply to exceptions of ”exceptional” projects which will always exist, but in a stricter selecdon and which, as usual only confirm the rule. However, all these are just something television has to go through, anđ this is not what we are discussing.