With that thought in mind, we are back to looking at how Arthur Koestler portrayed the character of Rubashov as a vehicle to illustrate the struggle between the ideas of the party and of the individual. The conspicuous disagreement of the Communist Party is the contention between
In the presented essay I will compare the style of work of selected artists in the montage of the film. I will try to point out some general regularities and features of Soviet cinema. At the same time I will try to capture especially what is common in their systems and similar or conversely what differ. For my analysis, I will draw on the feature films of the Soviet avantgarde, namely these are the movies - The Battleship Potemkin (S. Eisenstein, 1925), Mother (V. Pudovkin, 1926) and The Man with a movie camera (D. Vertov, 1929).
The influential career of Leni Riefenstahl has been a point of great contention amongst scholars and filmmakers over the last few decades. The legacy Riefenstahl leaves behind are her achievements and failures of her
Theorist Vsevolod Pudovkin claims that narrative films are mainly a “product of construction” and cautious compilations of “selections of images that have been shot” (Renée).
Filmmakers like Claude Lanzmann (Shoah) negotiate this tension by flatly rejecting the use of "historical images." So, by juxtaposing the visual/critical/rhetorical practices found in these films we can begin to define some of the practical parameters of what a visual-rhetorical critic might investigate.
Lastly, is the politics which would form from a dictatorship government across nations, and the effect that had on the economy. Marks demonstrates how each Russian theme influenced world history by citing before mentioned individuals and the regions which were impacted: United States, England, Mexico, and China to name a few. This is done using studies conducted on revolutionary violence, examinations of Russian characters in Chinese fiction, and visual examples embedded in the text. Counterevidence is not his burden, however had he touched on it more some of his connections would be more concrete, for example anarchism on its own is a stretch. There is a lack of context, or it is brief when he discusses how the topics influenced the world but is understandable as he deals with complex and broad topics. In general the book is an advancement in Russian inclusivity with world history simply by existing, a great addition to a topic long neglected. While it is an interesting read, it may seem incomprehensible to those with limited historical background, it is directed to the academia
The “Gods Sequence” also known as “General Kornilov attacks” (Sperbur) is an excellent example of both Eisenstein’s political views and his film form, which lead it to be cut from many U.S. prints because of its anti-religious symbolism. With the title “In the name of God and Country” based on Kornilov’s banners used in his march on Petrograd, Eisenstein uses the conventions of Soviet Montage to comment on both God and Country. Due to lack of film stock, leading
‘There are…two kinds of film makers: one invents an imaginary reality; the other confronts an existing reality and attempts to understand it, criticise it…and finally, translate it into film’
During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that,
My personal feelings on the matter War vs. Peace through telecommunications is one that pays attention to both sides of the argument. I believe that what is birthed by telecommunications is fostered by the parents it was born from, so to speak. It can be bred for war, or peace. Unfortunately I would have to admit that more often than not, films and telecommunications have been used to promote fear and war through propaganda such as Eisenstein and Riefenstahl. The problem with film is that you are forced into the perspective of the eyes of another. Forced perspective through propaganda is an all too common means of making a population fight for a cause it would otherwise be opposed to. These tactics have also been seen within American films
to dramatize the people’s massacre through the symbolized slaughter of the bull. The jump-cuts and non-diegetic inserts, the use of graphic patterns of lines and shadows, the contrasts between long shots of the enemy and close-ups of citizens, contrasts between shots from different perspective of the regular people and the Bolsheviks are some other of the non-traditional and signature characteristics of Eisenstein’s films. Presented from citizens point of view editing achieves sympathy and compassion at the audience accepting the Revolution as their own point of view of the historical event. The montage of unique rhythm and graphic elements creates a wholeness of the film structure and defines the specific style of of intellectual editing in Sergei Eisenstein’s works and his propaganda vision.
In this essay I will be discussing five key points throughout Post Production history between the 1900s-1960s. Post Production is seen as a vital component in the cinematic industry as it essentially finalises the final products. Techniques that have been developed over the years are incredibly important, but they all have an origin. Although these techniques started out without overwhelming effect, they are now unbelievably crucial to how films are constructed. The five points I wish to discuss go as follows: The Great Train Robbery and Edwin Porter himself, D.W. Griffith and his overwhelming influence on editing, The Jazz Singer, the Kuleshov Effect and finally, 2001: A Space Odyssey. As well as discussing these key factors, this essay will take into consideration secondary material.
The Kuleshov Workshop explored the effects of juxtaposition in film, and how sequential shots convey a
Montage, a name synonymous with Editing, is an original film style with different techniques used by the Soviet filmmakers between 1924 and 1930 to construct a film narrative. Montage is the connection between one shot and the other, a continuous or discontinuous relationship between shots. According to David Bordwell and Kristin Thompson (2012: 478), Soviet directors maintained that, “through editing, two shots give birth to a feeling or idea not present in either one”. This ‘feeling’ or ‘idea’ then guides a viewer into understanding or making a “conceptual connection” of the narrative (Bordwell 1972: 10). Strike (1925) and Mother (1926), directed by Sergei Eisenstein and Vsevolod Pudovkin respectively, are films made in the Soviet Montage era that show a juxtaposition between shots across the film. This essay discusses the different techniques used in these films that show the functions and effects of Montage.