The Total Art of Eisenstein: The Ideology Behind The old and the New

The history behind early Soviet cinema has fascinated Western scholars for decades. Conflicting accounts of unpublished scripts and censorship by the Communist Party have prompted detailed discussions on the limits imposed by the young Stalinist regime over the members of cultural vanguards. However...

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Detalles Bibliográficos
Autor principal: Viera, Tomás
Formato: Artículo revista
Lenguaje:Español
Publicado: Centro de Investigaciones y Estudios sobre Cultura y Sociedad 2023
Materias:
Soviet Union
Sergei Eisenstein
Cinema
Ideology
Stalinism
Unión Soviética
Cine
Ideología
Estalinismo
Acceso en línea:https://revistas.unc.edu.ar/index.php/eticaycine/article/view/41974
Aporte de:
Ética y Cine Journal de Universidad Nacional de Córdoba
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spelling I10-R324-article-419742023-07-26T22:11:34Z The Total Art of Eisenstein: The Ideology Behind The old and the New El arte total de Eisenstein: la ideología detrás de Lo viejo y lo nuevo Viera, Tomás Soviet Union Sergei Eisenstein Cinema Ideology Stalinism Unión Soviética Sergei Eisenstein Cine Ideología Estalinismo The history behind early Soviet cinema has fascinated Western scholars for decades. Conflicting accounts of unpublished scripts and censorship by the Communist Party have prompted detailed discussions on the limits imposed by the young Stalinist regime over the members of cultural vanguards. However, these debates occlude the larger problem of how the works produced by artists such as Sergei Eisenstein expressed the ideological tensions of a social system that was struggling to find a fitting balance between democracy and authority, between experimentation and order. Our study analyzes the 1929 film The old and the new, with the aim of exploring how these same tensions could manifest themselves well beyond the apparently opposed interests of art and politics. With this objective, we make use of the Lacanian theory of the unconscious, which allows us to analyze the duality of behaviors that can be manifested from within a single discursive subject. La historia detrás del temprano cine soviético ha fascinado a los académicos occidentales durante décadas. Relatos contradictorios sobre guiones inéditos y censuras del Partido Comunista han incitado a eruditas disquisiciones acerca de los límites que el naciente régimen estalinista habría impuesto a los miembros de las vanguardias culturales. Sin embargo, estos debates ocluyen el problema mayor de cómo las obras producidas por artistas como Sergei Eisenstein expresaban las tensiones ideológicas de un sistema social que luchaba por hallar un equilibrio adecuado entre democracia y autoridad, entre experimentación y orden. Nuestro estudio analiza el film de 1929 Lo viejo y lo nuevo, con el objetivo de explorar cómo estas mismas tensiones pudieron manifestarse más allá de las voluntades aparentemente opuestas del arte y la política. Para ello apelamos a las formulaciones lacanianas sobre el inconsciente, que permiten analizar el desdoblamiento de conductas de un mismo sujeto discursivo. Centro de Investigaciones y Estudios sobre Cultura y Sociedad 2023-07-26 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://revistas.unc.edu.ar/index.php/eticaycine/article/view/41974 10.31056/2250.5415.v13.n2.41974 Ética y Cine Journal; Vol. 13 Núm. 2 (2023): Omnivoyeur. The Truman Show: 25 años después; 93-102 2250-5415 2250-5660 10.31056/2250.5415.v13.n2 spa https://revistas.unc.edu.ar/index.php/eticaycine/article/view/41974/42110 Derechos de autor 2023 Ética y Cine Journal https://creativecommons.org/licenses/by-sa/4.0/
institution Universidad Nacional de Córdoba
institution_str I-10
repository_str R-324
container_title_str Ética y Cine Journal
language Español
format Artículo revista
topic Soviet Union
Sergei Eisenstein
Cinema
Ideology
Stalinism
Unión Soviética
Sergei Eisenstein
Cine
Ideología
Estalinismo
spellingShingle Soviet Union
Sergei Eisenstein
Cinema
Ideology
Stalinism
Unión Soviética
Sergei Eisenstein
Cine
Ideología
Estalinismo
Viera, Tomás
The Total Art of Eisenstein: The Ideology Behind The old and the New
topic_facet Soviet Union
Sergei Eisenstein
Cinema
Ideology
Stalinism
Unión Soviética
Sergei Eisenstein
Cine
Ideología
Estalinismo
author Viera, Tomás
author_facet Viera, Tomás
author_sort Viera, Tomás
title The Total Art of Eisenstein: The Ideology Behind The old and the New
title_short The Total Art of Eisenstein: The Ideology Behind The old and the New
title_full The Total Art of Eisenstein: The Ideology Behind The old and the New
title_fullStr The Total Art of Eisenstein: The Ideology Behind The old and the New
title_full_unstemmed The Total Art of Eisenstein: The Ideology Behind The old and the New
title_sort total art of eisenstein: the ideology behind the old and the new
description The history behind early Soviet cinema has fascinated Western scholars for decades. Conflicting accounts of unpublished scripts and censorship by the Communist Party have prompted detailed discussions on the limits imposed by the young Stalinist regime over the members of cultural vanguards. However, these debates occlude the larger problem of how the works produced by artists such as Sergei Eisenstein expressed the ideological tensions of a social system that was struggling to find a fitting balance between democracy and authority, between experimentation and order. Our study analyzes the 1929 film The old and the new, with the aim of exploring how these same tensions could manifest themselves well beyond the apparently opposed interests of art and politics. With this objective, we make use of the Lacanian theory of the unconscious, which allows us to analyze the duality of behaviors that can be manifested from within a single discursive subject.
publisher Centro de Investigaciones y Estudios sobre Cultura y Sociedad
publishDate 2023
url https://revistas.unc.edu.ar/index.php/eticaycine/article/view/41974
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first_indexed 2024-09-03T20:51:30Z
last_indexed 2024-09-03T20:51:30Z
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