에이젠쉬테인의 영화색채론

A Study on Film Color of S. Eisenstein

<Ivan the Terrible> is a complex film. Eisenstein made it during World War Ⅱ, when it served as patriotic propaganda. This film’s striking is strangeness. The actors look oddly, pause a certain monent, and take abrupt gestures. The settings like shapes and decorative surfaces attend themselves on attention as much as the action. Anrew Sarris has said it “a virtual repudiation of the fundamental montage theory.” However, he had not repudiated his early theory. Rather, by color he had experimented his theory of montage. In the pre-1930 period, his theory was based upon a dialectical model and he stressed tension among elements. Montage elements were devices in collision. In the later theory he developed inner speech as mental activity, which accumulates through the repetition and combination of sensations from the outer world. It is vertical montage that creats the complex and structure by the juxtaposition of sound and color. So he argues for a film of color images rather than a film representing colored objects and contemplates subjects in color for which entire ranges in the spectrum are eliminated to achieve thematic effect. He intensify the group of chosen color elements and bind them into a genuine system of color values. Color in film would not be just coloring, but an inner necessary dramatic quality.