Eisenstein s october

Trotsky also asserted that 'the proletarian regime is temporary and transient,' and not a permanent edifice, its purpose being to lay 'the foundations of a culture which is above classes and which will be the first culture that is truly human'.

Sergey Eisenstein

Plasticity derives from the tension between the forces and counter-forces created by the separate elements of the painting--the juxtaposition of negative space and positive space, for one. Presented without contextual information and observed without knowledge, unfamiliar idols tend to appear ridiculous.

The failure of [Boris Barnet's film] Moscow in October—a film based purely on the reconstruction of events—showed him to be right in this regard. However, the mostly episodic narrative still contains a few vestigial plot points such as the entrance of the Tsarist general Kornilov, which presents a major moment of crisis: He has decided that he is his own genius-head, he has made a decisive break with his comrades in production, moved out of production discipline and begun to work in a way that leans heavily and directly on his world renown.

They are brought into this condition by counteracting the aura of familiar sanctity surrounding appeals to Christianity, and Eisenstein does this through mockery.

The revolution destroyed him, smashed the co-ordinates of his life, but it also gave him the opportunity to produce himself anew Meisel also wrote the music for Ruttmann's Berlin: This brings out an important aspect of assertoric montage.

Yet, according to John Reed's absorbing account, Trotsky was operating at full revolutionary throttle, urging the Bolsheviks to yield no ground to their detractors: Midget bourgeoisie tango on table tops amid the detritus of excessive consumption; three identical top-hatted bosses make up a single composite capitalist; spies metamorphose into animals; a panorama of barrels sunk into the ground spews out troglodyte lumpenproletarians.

In him, music, literature, painting and science all converged. Lenin appears in the film a great deal less than Kerensky and never as the immediate instigator of events.

The full title of Nosferatu is Nosferatu: What is generally accepted is that Kornilov — the discontented, conservative head of the armed forces — advanced on Petrograd and eventually formed the intention to occupy the city and dismantle bolshevism. These, too, are attractions in the Eisensteinian sense.

Your imagination is activated, your fantasy stimulated, and a whole chorus of associations is set off. The film is not so much a substitute for the real world as 'an image existing for significant perception'. Officials walk up and down grand staircases, pre-dating the works of M C Escher.

The aim is to break the hold of false attachments and associations so that one can see them as false. The result is an unremarkable film.

Rhythm cutting builds with tempo the pace of action within the frame as the soldiers descend the steps in relentless solid formation behind the chaotically scattering crowd.

It mattered to Eisensteinit appears, that the founding moments of the Russian were not marked by bloodshed. Vladimir Mayakovsky said the following about Nikandrov's acting who embodied the character of Lenin in the film: In the late s, Eisenstein emphasized quite a different purpose for the directive intent of montage.

Each told the time as it happened to be in each city, in contrast with the time in Petrograd shown by the main face…. And we also know that American capitalism finds its sharpest and most expressive reflection in the American cinema.

Cinematic assertion and persuasion are both cognitively engaging activities. The final climactic destruction of innocence - the death of the baby and the attack on the conciliatory, bespectacled old woman by the sabre wielding cossack to whose better nature she vainly appeals - puts paid to any notion that verbal persuasion in powerless isolation can ever be an effective part of any revolutionary's armoury against monstrous reactionary forces.

A simple example in Battleship Potemkin is the intercutting of the priest tapping on a cross with an officer tapping on the hilt of a sword - to express a message of corrupt association of the church and the state.

Brecht also disparaged the causal through-line of Stanislavskian theory, both in his dramaturgy and in the work of his actors, whom he admonished not to try to connect the separate moments made up of the actions enacted on the stage.

But Eisenstein, who in some areas has moved towards the Lef position, did not share the Lef viewpoint in this instance—he believed that it was possible to find a method of representing October, not as documentary montage, but through an artistic 'play' film.

When the words "For God and country" appear in subtitles, we see, notOrthodox depictions of God but alien Gods - primitive sculptures,Buddhas, Gods so primitive and atavistic that they can't be identified. He wears a uniform that is slightly too big for him.

I heard one comrade put it correctly — that Nikandrov resembled not Lenin but a statue of him. In France the authorities burnt all copies they could find - it received only a limited art house screening at Paris film clubs. October is an historical film and its assertions are, for this reason, extra-diegetic.

In this fictionalised account of a factory strike, a highly stylised collection of capitalist exploiters do battle with the striking workers of a factory in a surreal series of set pieces.

Sergei Eisenstein’s ‘October’

We must master the Lenin-Stalin method of perceiving reality and history Upon completing the principal photography, Eisenstein sent the completed footage to Russia, where it was intercepted by government officials and removed from the director's control.

Let me label this style of montage, affect montage. The revolution gave me the most precious thing in life - it made an artist out of me. Proletarian culture is something that suddenly springs from nobody knows where, and is not invented by people who set up as specialists in proletarian culture.

Eisenstein sought, in this period, to impose a pre-determined pattern of cognition on his audience. Watch video · An excerpt from Russian filmmaker Sergei Eisenstein's movie October - Ten Days That Shook the World (aka Oktyabr, original foreign title) from with a soundtrack from Montreal based post-rock band Godspeed You!

Behold Sergei Eisenstein and Grigori Aleksandrov's acclaimed dramatization of the Russian Revolution that unfolded in October of Commissioned by the Soviet government to commemorate the tenth anniversary of that Revolution, the film was originally released in as Oktober in the Soviet.

Sergei Eisenstein was an auteur of film classics like October () and Battleship Potemkin () and a theoretician of cinema.

He also designed sets for stage productions and drew those designs. OCTOBER: TEN DAYS THAT SHOOK THE WORLD USSR,Sergei Eisenstein, Grigori Aleksandrov Statues are razed, palaces stormed, and governments toppled in Eisenstein's masterful follow-up to Potemkin--a ten-years-after re-creation of the Bolshevik Revolution.

Montage in Eisenstein October Film Name Institution of Affiliation Date Montage in Eisenstein October Film Eisenstein's October film was commissioned to commemorate the 10th anniversary of the Bolshevik revolution which took place in the Shot entirely in Leningrad (formerly Petrograd), Sergei Eisenstein, the great Russian filmmaker’s October, which was released inon the 10th anniversary of the Revolution, recreates the.

Eisenstein s october
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Sergei Eisenstein's Ten Days That Shook the World () | Open Culture