Bu makale Sovyet animatörü ve SSCB'deki ünlü animasyon dizisi "Eh, Just You Wait!" (1969)yaratıcısı Vyacheslav Mikhailovich Kotyonochkin'in (1927-2000) müzik görselleştirmesi ileilgili animasyonlarını analiz etmektedir. Bu bağlamda, yönetmenin eserlerinden iki animasyonfilmi özel ilgiyi hak etmektedir: " Prophets and Lessons " (1967) ve " Young Drummer Boy "(1972), animasyonları, Sovyet film ve animasyonlarında ses ve müzik kapsamında sanatsalmontaj uygulamasının zirvesi olarak görülebilir. Ne yazık ki, Kotyonochkin ve onun öncüfilmleri, akademi tarafindan tarafından analiz ve fark edilmemiştir. Onun animasyonlarınınbu yönlerini keşfederken, film-müzikte Sovyet animasyonları ve müzik görselleştirmeteorileriyle ilgili açık bir boşluk doldurulmaya çalışılacaktır. Sovyet animasyonlarında müzikkullanımına dair kısa bir girişin ardından filmlerin anlatılarını daha iyi anlamayı sağladıktansonra, Kotyonochkin’in çalışmalarındaki görsel ve işitsel öğeleri ilgili teoriler, leitmotif,sinaestezi ve müzik videosu örneklerine dayanarak analiz edilecektir.


This paper aims to critically analyze Soviet animator and the creator of the famous animatedseries "Well, Just You Wait!" (1969) in USSR, Vyacheslav Mikhailovich Kotyonochkin's (1927-2000) animations regarding music visualization. In this context, two animated films fromthe director's oeuvre deserve special attention: "Prophets and Lessons" (1967) and "YoungDrummer Boy" (1972) can be seen as the peak of applying artistic montage with sound toanimated films in Soviet propaganda animations. Unfortunately, Kotyonochkin and hispioneering works did go unnoticed by scholars, and they usually investigate the generalaspects of the field. In exploring these aspects of his works, I will try to fill a noticeable gap inthe film-music concerning Soviet animations and music visualization theories. After a briefintroduction to music usage in Soviet animations and his background as well as providingfurther understanding of the narratives of his films, I will analyze the audio-visual elements inhis works by referring to relevant scholars' theories such as Michel Chion, Wassily Kandinsky,Sergei Eisenstein and Lawrence Zbikowski in the framework of leitmotif, synaesthesia, artisticmontage and harmony, before giving a conclusion.


  • Adorno, T. and Eisler, H. (1929). Composing for the Films. Oxford University Press, New York, pp. 4. ISBN 0-826-48016-0.
  • Bennett, A. (2013). Music with a British Accent: Underscoring in British Films of the 1930s. Dandelion Postgraduate Arts Journal and Research Network [online]. Vol. 4, pp. 13. [viewed 2020-4-24]. Available from: British_ Accent _ Underscoring_in_British_Films_of_ the_1930s
  • Blackledge, O. (2017). Lev Kuleshov on Animation: Montaging the Image. Animation: An Interdisciplinary Journal [online]. Vol. 12 (2), 110-122, pp. 118 [viewed 2020-3-29]. Available from:, anm,DOI:10. 1177/17468477177089 71.
  • Bowens, K. N. (2008). Interactive Musical Visualization Based on Emotional and Color Theory. English Master of Science, Texas A&M University , USA , pp. 11.
  • Chion, M. (1990) Audio-Vision: Sound on Screen. Columbia University Press, New York and Paris, pp. 8, 48, 187. ISBN 0-231-07898-6, ISBN 0-231-07899-4 (pbk.).
  • Cohen, A. (2002) Canadian Psychology. Music Cognition and the Cognitive Psychology of Film Structure [online]. 43(4), pp. 221 [viewed 2020-4-20]. Available from: https:// _of_film_structure
  • Cook, N. (1998). Analysing Musical Multimedia. Oxford University Press, New York, pp. 98, 106. ISBN 0-19-816737-7 (pbk.).
  • Dann, K. (1998). Bright Colors Falsely Seen: Synaesthesia and the Search for Transcendental Knowledge. New Haven, CT: Yale University Press, pp. 5.
  • Eisenstein, S. (1949). The Film Sense. A Harvest / HBJ Book, Harcourt Brace Jovanovich, New York and London, pp. 74, 183, 184, 189, 190, appendix. ISBN 0-15-630920-3.
  • Fishzon, A. (2015). The Fog of Stagnation: Explorations of Time and Affect in Late Soviet Animation. Cahiers du monde russe [online]. Vol. 56, pp. 572 [viewed 2020-3-29]. Available from: ISSN 1252-6576, ISBN 9782713224768.
  • Fürst, J. (2014). Love, Peace and Rock ’n’ Roll on Gorky Street: The ‘Emotional Style’ of the Soviet Hippie Community,” Contemporary European History. 23, pp. 565-587 and FÜRST, When you come to Moscow, make sure that you have flowers in your hair (and a bottle of portwine in your pocket)’: The Life and World of the Soviet Hippies under Brezhnev. Unpublished paper presented at the workshop Reconsidering Stagnation, Amsterdam, Netherlands. March 2012, pp. 8‑15.
  • Gorbman, C. (1987). Unheard Melodies: Narrative Film Music. Indiana University Press, London , pp. 58-59. ISBN 0-85170-208-2, ISBN 0-85170-209-0 Pbk.
  • Harte, T. (2009): Fast forward: The aesthetics and ideology of speed in Russian avant-garde culture. Wisconsin: University of Wisconsin Press ©1910-1930, pp. 206. ISBN-13: 978-0299233242, ISBN-10: 0299233243 Huether, A. K. (2016). Hearing the Holocaust: Music, Film, Aesthetics [online]. Montana, pp. 64 [viewed 2020-4-22]. English Doctoral Thesis. Department of Religious Studies, Montana State University. Ph.D. Available from: /Hearing_the_Holocaust _Music_Film_Aesthetics.
  • Insdorf, A. (2002). Indelible Shadows: Film and the Holocaust. Cambridge University Press; 3 edition ©2002, pp. 43. ISBN 0-521-81563-0 hardback, ISBN 0-521-01630-4 paperback.
  • Izvolov, N. The History of Drawn Sound in Soviet Russia. Animation Journal. Spring 1998, pp. 58.
  • Kandinsky, W. (1946). Concerning the Spiritual in Art. 2nd Printing, Published by the Solomon R. Guggenheim Foundation for the Museum of Non-Objective Painting, New York City, pp. 63, 69. Also available in PDF from: Kandinsky_ Concerning_ the_ spiritual_ in_art.pdf.
  • Katz, Maya, B. (2016). Drawing the Iron Curtain: Jews and the Golden Age of Soviet Animation. Rutgers University, USA, pp. 174. ISBN-10: 0813577012, ISBN-13: 978-0813577012.
  • Manvell, R. and Huntley, John. (1957). The Technique of Film Music. Focal Press, London, pp. 66. ISBN-10: 1299346006, ISBN-13: 978-1299346000.
  • Neuberger, J. (2014). The Music of Landscape: Eisenstein, Prokofiev, and the Uses of Music in Ivan the Terrible. Sound Speech Music in Soviet and Post-Soviet Cinema, edited by Lilya Kaganovsky and Masha Salazkina. Indiana University Press, USA, p. 213. ISBN-10: 0253010950, ISBN-13: 978-0253010957.
  • Pikkov, Ü. (2016). On the Topics and Style of Soviet Animated Films. Baltic Screen Media Review [online]. Vol. 4, pp. 23 [viewed 2020-3-29]. Available from: https://
  • Pikkov, Ü. (2018). Anti-Animation: Textures of Eastern European Animated Film [online]. Talinn, pp. 109 [viewed 2020-3-29]. English Doctoral Thesis. Estonian Academy of Arts. Supervisor Prof. Mgr. Raivo Kelomees, Ph.D. Available from: /ulopikkov/docs/anti-animation-final. ISBN 978-9949-594-61-0 (print), ISBN 978-9949-594-62-7 (pdf), ISSN 1736-2261.
  • Pontara, T. Beethoven Overcome: Romantic and Existentialist Utopia in Andrei Tarkovsky’s Stalker. 19th-Century Music. Spring 2011, Vol. 34, No: 3, pp. 303.
  • Pudovkin, V. (1929). Film Technique and Film Acting. Vision Press Limited, Scanned from the Collections of Niles Essanay Silent Film Museum, London, pp. 163, 171. Also available in PDF from: techniqueact00pudo/page/n3/mode/2up.
  • Robertson, R. (2019). Eisenstein on the Audiovisual: The Montage of Music, Image and Sound in Cinema, I.B.Tauris, London, pp. 43. ISBN-10: 1845118391, ISBN-13: 978-1845118396.
  • Powrie, P. and Robynn, S. (2006). Changing Tunes: The Use of Pre-Existing Music in Film. Routledge, Ashgate Popular and Folk Music Series, New York, pp. 137. ISBN 0-7546-5137-1 (alk. paper), ISBN 0-7546-5137-1 (alk. paper).
  • Selden, D. (1982). Vision and violence: Vision of Violence: The Rhetoric of Potemkin. Quarterly Review of Film Studies. 7:4, pp. 309-329.
  • Shostakovich, D. (1954). Overture Festivo for Symphonic Orchestra. [online] Edwin F. Kalmus & CO., INC. Publishers of Music, Miami, Florida. [viewed 2020-8-10] Available from: https://www.
  • Stull, M. B. (2015). Understanding the Leitmotif: From Wagner to Hollywood Film Music. University Printing House, Cambridge, pp. 2-3, 12, 13. ISBN 978-1107-09839-8 Hardback, ISBN 978-1-107-48546-4, Paperback.
  • Yeung, L. K. C. (2019). Society for the Philosophic Study of the Contemporary Visual Arts, Film and Philosophy. An Aesthetic of Horror Film Music. [online]. Vol. 23, pp. 10 [viewed 2020-4-22]. Available from: 0178
  • Coda, [viewed 2020-7-12]
  • Fanfare, [viewed 2020-7-12]
  • Leitmotif, [viewed 2020-7-12]
  • Polyphonic, [viewed 2020-7-12]
  • Tenuto, [viewed 2020-7-12]
  • Scenes from "Song of the Young Drummer" (1972): [viewed 2020-7-12]
  • Scenes from "Prophets and Lessons" (1967): ESKQvnPAkx0 [viewed 2020-7-12]