As Russian Minister of Finance 1892-1903‚ Sergei Witte undertook a programme of rapid Industrialisation in an attempt to modernise Russia. Although a programme of this nature was not unprecedented‚ it had already occurred in Japan and Germany‚ it was still highly ambitious. He hoped to raise Russia to the standard of her enemies‚ fearing that if she did not modernise quickly‚ her army would be obsolete and she may cease to be a sovereign power . Witte’s reforms were‚ overall‚ quite simple but at
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Sergei Prokofiev was a Russian composer born on April 23‚ 1891 in Sontsovka‚Ukraine.He also was a famous pianist and conductor. His masterpiece included numerous works in many genres: he works were places in in opera‚ films‚ ballets‚ concerts‚ concertos‚ symphonies‚ and sonatas. Sergei was a musical child prodigy‚ composing his first musical composition at age five. His first Sergei Prokofiev was a Russian composer born on April 23‚ 1891 in Sontsovka‚Ukraine. He also was a famous pianist
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The music of Sergey Prokofiev is known all over the world. Even amongst the musically uneducated‚ his music is recognised today more than ever‚ heard frequently in radio broadcasts‚ television adverts and sitcoms. His less known works are also becoming increasingly popular‚ with many of his ballets and operas getting played around the world. However‚ it is interesting that it is only in the past 10 years or so that his music has became more prevalent. Prokofiev often had to deal with harsh criticism
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Tim Gozanski Comm. 368 – 4:00 class Aesthetics Essay Sergei Eisenstein’s Theory of Montage Sergei Eisenstein’s theory of montage suggests that a greater visceral impact can be achieved from a collision of opposing images rather than their linkage‚ as Pudovkin suggests. This is to say that when two opposing images are shown next to each other‚ a new and more dramatic third product is created--this synthesis occurring from the opposition between the thesis and the antithesis‚ e.g.‚ a close-up
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The Battleship Potemkin (Segei Eisenstein‚ 1925‚ USSR)‚ an attempt to record the historical 1905 mutiny upon the Russian Naval ship Potemkin‚ is renowned for its application of the Soviet Montage technique; A methodology pioneered by Eisenstein himself. The aim of this brave new cinematic vision was to elicit emotional and intellectual responses from audiences; A dialectic approach to film harking back to the ideals of Karl Marx. This particular strategy toward filmmaking proved incredibly useful
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structure of the film. Both the movement of Soviet montage and French New wave can be considered to be reaction to which involved young artists that were intricately connected to society. With reference to two films‚ which are The Battleship Potemkin (Sergei Eisenstein‚ Russia‚ 1925) and Breathless (Jean Luc Goddard‚ France‚ 1960)‚ this essay will attempt to examine how social and political upheaval which Soviet Union was enduring result in its aesthetic approaches‚ and technical aspects of Soviet Montage
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the tempo‚ which is the speed of the song. If a song is sad‚ the tempo is often slower. If a song is meant to be happy‚ the tempo is quick and light “Music is enough for a lifetime‚ but a lifetime is not enough for music.” These were the words of Sergei Rachmaninoff‚ a Russian composer and pianist who was very influential in the twentieth century. Sergei’s perception of music was accurate because he understood the impact and significance music can have. Everybody knows what music is and they all
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21st Century poets–tend to eschew rhyming poetry because of its emphasis on form and musicality over substance. It is true that the "The Bells" is highly musical‚ in keeping with Poe’s belief that a poem should appeal to the ear. The Russian composer Sergei Rachmaninoff wrote a symphony based on the poem. It contains four movements in imitation of the four stanzas of "The Bells‚" as translated into Russian. Yes‚ the poem is musical. However‚ it is not true that it lacks substance‚ as the analysis on
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Montage Editing in Millennium Actress Satoshi Kon’s Millennium Actress takes the viewer on a visual journey that blends reality‚ fantasy and history as Chiyoko searches for her lost love. Her quest to find this man spans across decades and manifests itself not only in her everyday life but also in the films she has appeared in. Kon uses masterful editing to create both a visually stunning film and a feature that formally reinforces the themes that are presented. Specifically‚ the use of montage
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291-307. Print. Bordwell‚ David. "Intensified Continuity Visual Style in Contemporary American Film." Film Quarterly 55.3 (2002): 16-28. Print. Christensen‚ Jerome. "Spike Lee‚ Corporate Populist." Critical Inquiry 17.3 (1991): 582+. Print. Eisenstein‚ Sergei. “The Dramaturgy of Film Form.” Film Theory and Criticism. Braudy‚ Leo and Cohen‚ Marshall. New York: Oxford‚ 2009. 24-40. Kracauer‚ Siegfried. “Basic Concepts.” Film Theory and Criticism. Braudy‚ Leo and Cohen‚ Marshall. New York: Oxford‚ 2009. 147-158
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