Eisenstein’s visual revolution of the art in Ivan, the Terrible

Authors

  • Atilio Avancini Universidade de São Paulo. Escola de Comunicações e Artes
  • Fernanda Riscali Universidade de São Paulo

DOI:

https://doi.org/10.11606/issn.2178-0447.ars.2018.146458

Keywords:

Movie message, cultural production, art critical, aesthetic construction, frame analysis

Abstract

The proposal of the article is the reading of the movie and photographic message of the film Ivan the Terrible – Part II by the director Sergei Eisenstein. The research methodology has as its starting point the analysis of the frame devised by the critic Roland Barthes between the obvious and obtuse. In addition, the circulation of meanings of the artistic object is extended to the descriptive and cultural of Erwin Panofasky, besides the lecture of the point of view technical-aesthetic. An instrument of denunciation, the classic Ivan, the Terrible – Part II is perpetuated by being legitimized as a historical record of the past and a metaphor of the present. This research in the area of art theory and critic, works with the idea that with plastic lyricism and political discussion this cinematographic work contributes to promote a visual revolution.

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Author Biographies

  • Atilio Avancini, Universidade de São Paulo. Escola de Comunicações e Artes

    Prof. Dr. Programa de Pós-Graduação de Meios e Processos Audiovisuais (PPGMPA-ECA)

  • Fernanda Riscali, Universidade de São Paulo
    Doutoranda Programa de Pós-Graduação de Meios e Processos Audiovisuais (PPGMPA-ECA)

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Published

2018-08-27

Issue

Vol. 16 No. 33 (2018)

Section

Articles

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How to Cite

Avancini, A., & Riscali, F. (2018). Eisenstein’s visual revolution of the art in Ivan, the Terrible. ARS, 16(33), 147-171. https://doi.org/10.11606/issn.2178-0447.ars.2018.146458