Abstract
The interior monologues of James Joyce's "Ulysses" and Lev Vygotsky's work on inner speech profoundly impacted Sergei Eisenstein's development of the concept and practice of cinema as sensual thought. This article claims that twenty years after Eisenstein's death, Sergei Parajanov achieves a new cinematic realization of inner speech in "The Colour of Pomegranates", a work profoundly influenced by Eisenstein's last films, "Ivan the Terrible Parts I and II".
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