소비에트 러시아 영화사 연구 – 1910-1930년대 러시아 영화의 미학적 변천사 –

초록

This paper provides an in-depth analysis of the aesthetic transformations in Soviet Russian cinema during its most dynamic period, from the twilight of the Tsarist era in the 1910s to the Stalinist era of the 1930s. By dividing this period into three distinct phases— pre-revolutionary cinema, the 1920s avant-garde, and 1930s Socialist Realism—this study aims to investigate the complex interplay between artistic form and socio-political ideology through the works of key directors. The research specifically focuses on not only the ruptures between these periods but also the aspects of continuity, examining how aesthetic legacies were critically inherited and transformed. The analysis reveals that pre-revolutionary cinema laid a crucial artistic foundation for subsequent Soviet film. Evgenii Bauer achieved a “pictorial representation of movement” through his elaborate and ornate mise-en-scène, while Yakov Protazanov elevated cinema to an “object of psychological analysis” through his literary adaptations. This artistic heritage was critically inherited by the avant-garde directors of the 1920s. Lev Kuleshov established a unique grammar of film language by declaring the primacy of montage, which Sergei Eisenstein further developed into a dialectic of conflict with his “montage of attractions.” These filmmakers explored the common theme of “the individual's place in society” through radical formal experiments, profoundly influencing world cinema. By the 1930s, cinema had become a primary instrument for articulating state ideology. The dominant aesthetics of this era were the hero-centric narrative and the hierarchical composition emphasizing the leader as the sole creator of history, as seen in Mikhail Romm’s films, and the optimistic depiction of daily life in Grigori Alexandrov’s musical comedies. Within this controlled environment, however, the legacy of the 1920s persisted in various forms. The Vasilyev Brothers’ Chapayev successfully synthesized the epic tendencies of the 1920s with the psychological drama of the 1930s, featuring an innovative humanization of the enemy. Furthermore, works like Boris Barnet’s Okraina formed a resistant current by rejecting official narratives and championing the value of ordinary human lives. In conclusion, this paper argues that the history of Soviet Russian cinema from 1910 to the 1930s was not a linear progression but a complex process in which conflicting aesthetic values clashed and synthesized. The psychological and pictorial traditions of the pre-revolutionary era, the formalist experiments of the 1920s, and the narrative-driven realism of the 1930s existed in a continuum of mutual influence and negation. The cinematic achievements and conflicts of this period raise fundamental questions about the relationship between artistic form and social change, offering significant insights for the study of film history.

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