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The text (continuation of the article Vestnik VGIK, No. 3 (41), 2019). deals with the ideas of S.M. Eisenstein, presented by him in the theoretical work On Stereoscopic Films, in the context of the subsequent development of cinema phonography and modern scientific and theoretical discussions on the problems of correlation of technological and aesthetic aspects of cinema art. Eisensteins article focuses on and analyzes new and controversial technical achievements of cinema, but the authors thoughts reach a high level of understanding the history and prospects of the development of cinema and art in general as an expression of the organic human need for creative and artistic activity. Turning to the history of the theater as the forerunner of cinema, Eisenstein emphasizes the moment of separation of the actor and stage action from the audience. The director sees the technical possibilities of stereo cinema as a way of returning the viewer to the space of direct co-action, complete immersion in the artistic space, integration with the artistic image. Modern multichannel sound technologies have come close to fulfilling Eisensteins dream of drawing the viewer into the screen space and merging it with the artistic creation. But when and to what extent is the use of stereo effects justified, how do the technological and artistic aspects of film production correlate These are issues that are currently the subject of theoretical discourse in the framework of not only film studies, but also interdisciplinary knowledge, affect the development of audiovisual concepts in the practice of filmmaking.

Sergei Eisenstein’s Ideas in the Context of Contemporary Cinema. Stereo Film and Stereo Sound