著者

岩本 憲児

出版者

日本映像学会

雑誌

映像学 (ISSN:02860279)

巻号頁・発行日

vol.21, pp.41-51, 1981

著者

岩本 憲児

出版者

日本映像学会

雑誌

季刊映像 (ISSN:03898253)

巻号頁・発行日

vol.12, pp.2-9,63, 1979

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<p>  J. Dudley Andrew, in his THE MAJOR FILM THEORIES (1976), discusses a certain relationship between Eisenstein and psychology, such as associationism, Titchener's structural psychology, Pavlov's conditionned reflex, Piaget, and Vygotsky. One can add to this list a name of Freud, as Marie Seton or Peter Wollen regards him profoundly influential upon Eisenstein. Andrew, above all, put a great emphasis on a similarity of Eisenstein's concept of <i>montage</i> to Piaget's genetic psychology.</p><p>  But, throwing light on Vygotsky's inner speech, we can try to connect him with Eisenstein. According to Vygotsky, inner speech is not in the preceding stage of logical, uttered language, but has a genetically different origin from it. Therefore, the inner speech is the ultimate stage in its own right, and <i>montage</i> can be thought as an energizing catalyst upon the inner speech of the spectator.</p>

著者

岩本 憲児

出版者

Japan Society of Image Arts and Sciences

雑誌

Iconics (ISSN:13454447)

巻号頁・発行日

vol.1, pp.129-46, 1987-12-21 (Released:2019-05-20)

参考文献数

27

著者

岩本 憲児 Kenji Iwamoto

雑誌

時計台 (ISSN:09183639)

巻号頁・発行日

no.87, pp.2-13, 2017-04-01

著者

岩本 憲児

出版者

日本映像学会

雑誌

季刊映像 (ISSN:03898253)

巻号頁・発行日

no.5, pp.2-11, 1977-03-10

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When we examine the formation of film theory in Russia after the Revolution, we are requested to pay attention to the various movements and critical activities in the other arts of the time. Russian Formalism, which had been forgotten by scholars for a long time but which is now being revaluated, is one of the literary cultural activities which shares some basic ideas and realizations with film world. In this short essay, from the two reasons, I tried to bring into focus Boris Eikhenbaum's view of film. My two main points are one,; in his essays, we can easily find a similar concept to the Montage Theory in Russia, two; it is possible that Eisenstein got a suggestion for his Montage on the "dominant" from the musical term "dominant", which was one of the Eikhenbaum's keyword used for literary arts. As to the concept of film montage, it is not, of course, Eikhenbaum's origination. But his emphasis on the function of the methodical style in literature-that is, by his own words, through art "We see things anew"-was a resonance of Eisenstein's Montage of Attractions as well as Shklovsky's view of art. To some of the Russian Formalists, as J. Narboni points out, L. Delluc's photogenic was an equivalent of R. Jakobson's literariness. Eikhenbaum thought that photogenic was a singnificant idea for film world: a principle of choosing materials based on a specific sign or indication. This view is similar to Eisenstein's Montage on the dominant. Moreover, Eikhenbaum referred to the inner speech which occured to the spectator. As widely known, Eisenstein, too, developed his thoughts on the auditory and the visual; from the inner monologue, the inner speech, to the image-language of primitive people. However, Eikhenbaum seems to have gotten his concept of film montage from his contemporary Russian cineast S. Timoshenko. Another Formalist, Y. Tynyanov, looked for the "Dominant" and the 'System" in the interrelation of the various elements in the literary text or texts which he examined. This, too, is to be found agin later in the method of Structuralism; the study of narrative genre. When Formalists were trying to find the structure of a relationship, in the field of language, between the nerrator (poet, artist, etc.,…) and the world he lived in, Russian dneasts were doing almost the same in the field of visuals. Because, Montage is an expression of the structure of the relationship between a viewer and a viewed world.

著者

ジェイムズ・モナコ著 岩本憲児 [ほか] 訳

出版者

フィルムアート社

巻号頁・発行日

1983