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编者按本期选译的文章来自于20世纪20年代的苏联蒙太奇运动和30年代意识形态与电影的结合这两个电影史事件,这些公开发表的带有宣言色彩的文章,展现了当时不同身份、不同立场的作者(艺术家、政治家和宗教界人士),对电影语言与电影功能的独特表述,以及话语背后蕴含的当时人们对电影的特殊诉求。《我们:一个宣言的变体》和《工人电影的制作方法》是首次翻译,这两篇文章的共同之处是用最简洁的语言,表达了维尔托夫与爱森斯坦对电影本体的理解,代表着苏联蒙太奇运动两种完全不同的电影观。与此同时,苏联视觉艺术中的构成主义
The editors’ translations of this issue are based on two movie history events, Soviet Union’s montage movement of the 1920s and the combination of ideology and film in the 1930s. These publicized articles with manifestations show the different identities , Authors of different positions (artists, politicians and religious figures), a unique expression of the function of cinema language and film, and the special appeal of the people at the time that was behind the discourse. “We: A Manifesto of the Manifesto” and “The Making of the Workers’ Films” are the first translations, all of which have in common, in the simplest language, the expression of the understanding of the film ontology by Vertov and Eisenstein , On behalf of the Soviet montage movement two completely different movie concept. At the same time, constitutionalism in Soviet visual art