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However, before we can begin, we must understand that the communicative link between two persons was much different when compared to our current understandings. Communication was, is, and always will be a multi-layered process. The focus of this paper is the difference between interpersonal communication in the classroom versus the lens of the camera and how it impacts the perception of the subject in the image.
This paper will examine two interpretive paradigms, one developed based on the Western model and the other based on the Siberian Copper Cone style. Before exploring the differences seen, I begin with a narrative study of the poet, artist, and filmmaker, Andrei Sergueievsky (1893–1958) in order to explain the techniques that are used in the first paradigm, also referred to as the three-dimensional modality.
In Russia, Sergueievsky was referred to as a "post-impressionist avant-garde" (Izyunina 10) who revolutionized the way that the Russian people viewed the world. Due to the Bolshevik Revolution of 1917, the differences in the relationship between the individuals and the academic process of obtaining a photograph of an object are the key to understanding why there were more photographs in the first paradigm.
This paper will cite specific examples of photographs taken by Sergueievsky and explain the method of processing these photographs using two predominant interpretive paradigms, both developed outside of Russia in order to understand the Russian film-maker better. The first paradigm is the three dimensional modality, which will be explained using the writings of Sergei Eisenschitz and Sergei Eisenstein. The second paradigm is the two dimensional modality, which will be explained using the writings of Stanislav Krichevsky and Boris (Lev Klein).
Sergei Aleksandrovich Malydegin (Sergueievsky) was born on February 8, 1893, in Szelekhoy (now Zhurinsk, Russian SFSR). In 1917 he was the director of a photography studio in St. Peterburg (now St. Petersburg, Russia), but was subsequently arrested by the Bolsheviks in October of 1917. When the Bolsheviks arrived in St. Peterburg, he was directed to the office of Ural Works where he was tasked with developing photographs. d2c66b5586