“THE WORLD CINEMA” BY BRYUSOV IN THE LIGHT OF THE THEORY OF “THE MOVEMENT OF REFUSAL” BY EISENSTEIN

Abstract

Bryusov's poem "The World Cinema", the ekphrasis of the motion picture film, practically develops the principle of "the movement of refusal", later comprehended by Meyerhold and Eisenstein. Not being a professional moviegoer, Bryusov took seriously main achievements of cinematography, such as design of large-scale historical scenes, illusion within the illusion and risk of obscenity. The close reading of the poem and seeking of allusions to early symbolist poetry, with which the revolutionary Bryusov strove to break, and to the state of cinema, allows us not only to esteem indirect contribution of symbolist aesthetics to Russian cinematographic theory and practice, but also to understand the specifics of the correlation of reality, clarity, and objectivity, as developed in the further tradition of Russian idealism.