Studia Litterarum Studia Litterarum 2500-4247 IWL RAS https://doi.org/10.22455/2500-4247-2025-10-4-196-215 Research Article Articles The Problem of the Poetic Script and the Aesthetic Position of V. Mayakovsky in Discussions of the 1920s Kupchenko Tatiana A. red@studlit.ru December 25, 2025 2025 December 31, 2023 Cinema was a new type of poetry for Mayakovsky. Its unit of measurement was not the word, but time and movement. He believed a new type of art should be studied through its specificity, which changes our view of the world. Vertov, Rodchenko, Eikhenbaum, and Heidegger argue that cinema marks the rise of a new way of thinking. Futurist art and constructivism set similar goals. Mayakovsky’s best scripts (The Heart of Cinema, How Are You?, The Story of a Revolver) reflect on cinema’s nature. He highly valued Charles Chaplin’s “A Woman of Paris” for using authentic film media. The film’s motifs include movement, light, the road, film, and contrast techniques. The feature film embodies the ideals of the chronicle. The form of a film script is linked to issues of plot, a question developed by the formalist school (Eikhenbaum, Tynyanov, Shklovsky). These theories are considered through the lens of the chronicle. Mayakovsky chose the chronicle over the feature film because of ideas about plot, as discussed by Shklovsky and Tynyanov. This choice is tied to script form. Mayakovsky’s scripts combine a “numbered” technical type (T. Ince, O. Brik) with poetic content, setting them apart from the “emotional” scripts of S. Eisenstein and A. Rzheshevsky. As a result, he found a new, cinematic form for expressing poetry, not just a verbal one. film script V. Mayakovsky silent cinema poetic cinema art of cinema philosophy of art Copyright © 2026, IWL RAS 2026 1. 1 Arenzon, E.R. “Maiakovskii v ʽKine-zhurnale’: K probleme psevdonimnykh statei 1913–1915 gg.” [“Mayakovsky in the ʽCinema Magazine’: On the Problem of Pseudonymous Articles of 1913–1915”]. 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