M. Tariverdiyev’s cinematography of 1960s: break through "the future of the sound film"

Authors

  • Natalia V. Pintverene Saint Petersburg Children’s Music School named after A. Petrov

Abstract

In the article “The Future of the sound film” (1928) S. Eisenshtein theoretically outlined the ways of development of the national cinema, established the method of the “contrapuntal construction of the “sound film” which is characterized by discordance of the sound and the visual images. M. Tariverdiyev  was one of the first who had realized its artistic signifi cance. Building on this assumption, he had developed the system of structural principles of musical screenwriting. The method of sound-visual counterpoint became one of the key and elaborated methods in general musical conception of the film and was defined by the composer as “polyphony”. In this article the results of the musical analysis of the selected films and the proofs of the above theses are presented.

Keywords:

sound-visual counterpoint, polyphony, the third direction

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Author Biography

Natalia V. Pintverene, Saint Petersburg Children’s Music School named after A. Petrov

Teacher

References

Литература

1. Эйзенштейн С. Будущее звуковой фильмы. Заявка (1928) // Эйзенштейн С. Избранные произведения: в 6 т. М.: Искусство, 1964. Т. 2. С. 315–316.

2. Таривердиев М. Л. Я просто живу. Таривердиева В. Г. Биография музыки. М.: Зебра Е, 2004. 656 с.

3. Лотман Ю. Семиотика кино и проблемы киноэстетики // Об искусстве. СПб.: Искусство — СПб, 1998. С. 290–370.

4. Васильева Н. Дмитрий Шостакович — кинематографист // Искусство кино. 1971. № 2. С. 128–139.

5. Трахтенберг Л. Заметки о музыке кино // Искусство кино. 1960. № 11. С. 109–111.

6. Трахтенберг Л. Драматургия звука // Искусство кино. 1969. № 9. С. 100–105.

7. Таривердиев М. Из фильма песни не выкинешь // Советский экран. 1962. № 24. С. 3.

8. Васина-Гроссман В. О песнях Микаэла Таривердиева // Мастера советской песни. М.: Сов. Композитор. 1977. Вып. 1. С. 125–149.

9. Цукер А. Микаэл Таривердиев: монография. М.: Сов. Композитор, 1985. 288 с.


References

1. Eizenshtein S. Budushchee zvukovoi fil'my. Zaiavka (1928). Eizenshtein S. Izbrannye proizvedeniia, 6 vols. Moscow, Iskusstvo Publ., 1964, vol. 2, pp. 315–316. (In Russian)

2. Tariverdiev M. L. Ia prosto zhivu. Tariverdieva V. G. Biografiia muzyki. Moscow, Zebra E Publ., 2004. 656 p. (In Russian)

3. Lotman Iu. Semiotika kino i problemy kinoestetiki. Ob iskusstve. St Petersburg, Iskusstvo — SPb Publ., 1998, pp. 290–370. (In Russian)

4. Vasil'eva N. Dmitrii Shostakovich — kinematografist. Iskusstvo kino, 1971, no. 2, pp. 128–139. (In Russian)

5. Trakhtenberg L. Zametki o muzyke kino. Iskusstvo kino, 1960, no. 11, pp. 109–111. (In Russian)

6. Trakhtenberg L. Dramaturgiia zvuka. Iskusstvo kino, 1969, no. 9, pp. 100–105. (In Russian)

7. Tariverdiev M. Iz fil'ma pesni ne vykinesh'. Sovetskii ekran, 1962, no. 24, pp. 3. (In Russian)

8. Vasina-Grossman V. O pesniakh Mikaela Tariverdieva. Mastera sovetskoi pesni, Moscow, Sov. kompozitor Publ., 1977, iss. 1, pp. 125–149. (In Russian)

9. Tsuker A. Mikael Tariverdiev: monografiia. Moscow: Sov. kompozitor Publ., 1985. 288 p. (In Russian)

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Published

2011-11-10

How to Cite

Pintverene, N. V. (2011). M. Tariverdiyev’s cinematography of 1960s: break through "the future of the sound film". Vestnik of Saint Petersburg University. Arts, 1(4), 88–96. Retrieved from https://artsjournal.spbu.ru/article/view/1000

Issue

Vol. 1 No. 4 (2011)

Section

Cinematography

License

Articles of "Vestnik of Saint Petersburg University. Arts" are open access distributed under the terms of the License Agreement with Saint Petersburg State University, which permits to the authors unrestricted distribution and self-archiving free of charge.