Abstract
The article discusses the features of creative models of two major trend in world cinema: Soviet cinema of 1920—1930 and new cinema of Latin America 1960—1970. At the same time, emphasis is placed on the methods developed in the field of art form by Soviet directors: theories of editing by S.M.Eisenstein and “Kinoglaz” by D.Vertov. The comparison of the program theses of the two schools of cinema, the analysis of their cinematic and theoretical works allows us to conclude that they are conceptually close in two key aspects — ideological and aesthetic.
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