It is impossible to exclude the Russian cinema’s legacy in writing film history. Along with Eisenstein’s works characterized by the experimental aesthetics in early cinema, the Soviet-Russian cinema has marvelously established its unique tradition as well as part of the universal tradition in film art. The Soviet-Russian cinema is also highly valued with its achievements in Korea. The Korean filmmakers in the 1920s were enthusiastic about Eisenstein’s film aesthetics, and the Korean cinephiles in the 1990s were fascinated by the artistic spirit in Tarkovsky’s films. In celebration of the 30 years of diplomatic relations between Korea and Russia, rethinking Soviet-Russian cinema will remind us of a long history of Korea-Russia exchanges and help us find new contact points. It will also lead us to think about new cultural practices in the age of the rapidly changing media environment and the reorganization of international cultural-political relationships.
Tarkovsky and Eisenstein are obviously master filmmakers in the history of Russian cinema. Can we imagine a new cinema without forgetting them? After their death, Russian cinema seems to have a long sleep. That is why we need to revisit the aesthetics of Russian cinema during the thaw to arouse Russian cinema from sleep and draw audiences’ attention to it. Reconsidering the origin of Russian cinema might be a good way to wake it up. Art in the early years of the Soviet Union was one of the great achievements in the entire art history. Russian cinema was at the heart of it. The reinterpretation of Eisenstein’s later works will also renew our attention to Russian cinema.
| Moderator | Lee Hyeong-Sook(Korea Univ.) | |
|---|---|---|
| Speaker | Lee Sangyong(Film Critic) | Unbridgeable Gap: Forgetting Eisenstein and Tarkovsky |
| Kim Seong-uk(Seoul Art Cinema) | The Deep Sleep of Russian Cinema | |
| Lee Ji-Yeon(Hankuk Univ. of Foreign Studies) | Constructivism and Cinema in Russia | |