Dovzhenko is the one who most differs from his brilliant colleagues, who based a considerable part of the structure of their films on a sophisticated construction of scene montage, Dovzhenko has always followed a more naturalistic line, pure dramatic narrative, poetry and visual beauty, master to its time in capturing natural rhythms, "Arsenal" is a modern classic with a visionary conception, oscillating between raw and immediate images like a documentary and also almost expressionist, exaggerated, playing with framing or inverted symmetries, employing quite varied forms of reach a state of abstraction. Just imagine a cinematographic composition inspired by the classic icons of the Byzantine orthodox code, that is, sacred figures painted on wood with a background without perspective, except that, in place of the sacred figure, a potentially revolutionary worker appears. Dovzhenko adapted the religious "aura" of the icons to the characters emanating from the Marxist dialectical materialism prevailing in the aesthetic-ideological vision of the party.
Not only in the close-up portraits of the heroes, villains and victims of the historical process, but also of objects and nature. Surrounded by a halo resulting from a subtle out-of-focus, the foreground images - faces, flowers, mechanical objects - acquire a "corporeal significance", as defined by a Ukrainian critic, who crosses the Byzantine tradition and refers to the sacredness in pictorial representation. In Europe and in the beginnings of the Italian Renaissance.
These images seem to contain a self-sufficient solidity, almost arousing a sense of touch in the viewer. Cinema-poetry, of course, that articulates itself with the urgency of the historical moment of the socialist revolution to produce an awareness of historical transition and overcoming, sustaining at the same time a fruitful and original subjectivity. The source, finally, to which filmmakers like Tarkovsky, Paradjanov and Sokurov referred.
Not only in the close-up portraits of the heroes, villains and victims of the historical process, but also of objects and nature. Surrounded by a halo resulting from a subtle out-of-focus, the foreground images - faces, flowers, mechanical objects - acquire a "corporeal significance", as defined by a Ukrainian critic, who crosses the Byzantine tradition and refers to the sacredness in pictorial representation. In Europe and in the beginnings of the Italian Renaissance.
These images seem to contain a self-sufficient solidity, almost arousing a sense of touch in the viewer. Cinema-poetry, of course, that articulates itself with the urgency of the historical moment of the socialist revolution to produce an awareness of historical transition and overcoming, sustaining at the same time a fruitful and original subjectivity. The source, finally, to which filmmakers like Tarkovsky, Paradjanov and Sokurov referred.