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Directors and trends after the revolution (1917 -1930) Eisenstein, Pudovkin and experiments in montage and politics
| разное, Английский язык Объем работы: 30 стр. Год сдачи: 2007 Стоимость: 1500 руб. Просмотров: 619 | Не подходит работа? |
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General description of Russian filmmaking and trends in 1917-1930
Formalism, a Soviet film movement, developed in the country somewhat in response to other filmmaking cultures. The Soviet filmmakers, such as Pudovkin, Abram Room, Alexander Dovzhenko, Dziga Vertov, and most notably Sergei Eisenstein, wanted to develop a national identity for their cinema. In contrast with, for example, the German filmmakers such as G. W. Pabst, Fritz Lang, F. W. Mu
au, and Robert Wiene who had given their own cinema a national identity through German expressionism, Soviet directors imagined an opposing style. Soviet formalism is very cinematic and has a heavy emphasis on montage.
The Formalism movement used the method of defamiliarisation - making objects strange in order to make them seem more real. Eisenstein\'s technique expressed their idea that mere reproduction is never valid unless it is a deviation from the norm, a risky thing to do under Stalin. The fact that the Bolsheviks took the power of ideas seriously had both positive and negative consequences. On the one hand, they understood better than any of their enemies that ideas were weapons, and weapons had to be taken out of the hands of the enemy: that is, dangerous ideas had to be suppressed. The Soviet regime did not exist without repression and censorship for even a day. On the other hand, the gove
ment was willing to support the expression of useful, \"positive\" ideas.
Formalism, a Soviet film movement, developed in the country somewhat in response to other filmmaking cultures. The Soviet filmmakers, such as Pudovkin, Abram Room, Alexander Dovzhenko, Dziga Vertov, and most notably Sergei Eisenstein, wanted to develop a national identity for their cinema. In contrast with, for example, the German filmmakers such as G. W. Pabst, Fritz Lang, F. W. Mu
au, and Robert Wiene who had given their own cinema a national identity through German expressionism, Soviet directors imagined an opposing style. Soviet formalism is very cinematic and has a heavy emphasis on montage.
The Formalism movement used the method of defamiliarisation - making objects strange in order to make them seem more real. Eisenstein\'s technique expressed their idea that mere reproduction is never valid unless it is a deviation from the norm, a risky thing to do under Stalin. The fact that the Bolsheviks took the power of ideas seriously had both positive and negative consequences. On the one hand, they understood better than any of their enemies that ideas were weapons, and weapons had to be taken out of the hands of the enemy: that is, dangerous ideas had to be suppressed. The Soviet regime did not exist without repression and censorship for even a day. On the other hand, the gove
ment was willing to support the expression of useful, \"positive\" ideas.
1. Sklar, Robert. Film: An Inte
ational History of the Medium, second edition. New York: Prentice-Hall, Inc., 2002.
2. Chen, Anna. In Perspective: Sergei Eisenstein: A review of the special centenary edition of The Eisenstein Collection. Inte
ational Socialism, quarterly jou
al of the Socialist Workers Party (Britain) Published July 1998. Issue 79.
3. Sklar, Robert. Film: An Inte
ational History of the Medium, second edition. New York: Prentice-Hall, Inc., 2002.
4. Jan-Christopher Horak 12-20 October 1996 - 15th Pordenone Silent Film Festival in Italy. Historical Jou
al of Film, Radio and Television, June, 1997.
5. Richard Taylor & Ian Christie, The Film Factory: Russian and Soviet Cinema in Documents1896-1939 (Routledge & Kogan Paul 1988), p.41.
6. Sergei Eisenstein & Jay Leda (ed.), Film Form (Harcourt Brace Jovanovich 1949), p.36.
7. Richard Taylor & Ian Christie, The Film Factory: Russian and Soviet Cinema in Documents1896-1939 (Routledge & Kogan Paul 1988), p.66.
8. Chen, Anna. In Perspective: Sergei Eisenstein: A review of the special centenary edition of The Eisenstein Collection. Inte
ational Socialism, quarterly jou
al of the Socialist Workers Party (Britain) Published July 1998. Issue 79.
9. Sklar, Robert. Film: An Inte
ational History of the Medium, second edition. New York: Prentice-Hall, Inc., 2002.
10. Sklar, Robert. Film: An Inte
ational History of the Medium, second edition. New York: Prentice-Hall, Inc., 2002.
11. Sergei Eisenstein, Film Form: Essays in Film Theory, edited and translated by Jay Leyda, New York, Harcourt Brace, 1949, p. 127.
12. Dan Shaw. Sergei Eisenstein. January 2004/ http://www.sensesofcinema.com/contents/directors/04/eisenstein.html#2
13. Sergei Eisenstein, Film Form: Essays in Film Theory, edited and translated by Jay Leyda, New York, Harcourt Brace, 1949, p. 153.
14. Quoted in Peter Wollen, Signs and Meaning in the Cinema, Bloomington, Indiana University Press, 1972, p. 41.
15. Dan Shaw. Sergei Eisenstein. January 2004/...
ational History of the Medium, second edition. New York: Prentice-Hall, Inc., 2002.
2. Chen, Anna. In Perspective: Sergei Eisenstein: A review of the special centenary edition of The Eisenstein Collection. Inte
ational Socialism, quarterly jou
al of the Socialist Workers Party (Britain) Published July 1998. Issue 79.
3. Sklar, Robert. Film: An Inte
ational History of the Medium, second edition. New York: Prentice-Hall, Inc., 2002.
4. Jan-Christopher Horak 12-20 October 1996 - 15th Pordenone Silent Film Festival in Italy. Historical Jou
al of Film, Radio and Television, June, 1997.
5. Richard Taylor & Ian Christie, The Film Factory: Russian and Soviet Cinema in Documents1896-1939 (Routledge & Kogan Paul 1988), p.41.
6. Sergei Eisenstein & Jay Leda (ed.), Film Form (Harcourt Brace Jovanovich 1949), p.36.
7. Richard Taylor & Ian Christie, The Film Factory: Russian and Soviet Cinema in Documents1896-1939 (Routledge & Kogan Paul 1988), p.66.
8. Chen, Anna. In Perspective: Sergei Eisenstein: A review of the special centenary edition of The Eisenstein Collection. Inte
ational Socialism, quarterly jou
al of the Socialist Workers Party (Britain) Published July 1998. Issue 79.
9. Sklar, Robert. Film: An Inte
ational History of the Medium, second edition. New York: Prentice-Hall, Inc., 2002.
10. Sklar, Robert. Film: An Inte
ational History of the Medium, second edition. New York: Prentice-Hall, Inc., 2002.
11. Sergei Eisenstein, Film Form: Essays in Film Theory, edited and translated by Jay Leyda, New York, Harcourt Brace, 1949, p. 127.
12. Dan Shaw. Sergei Eisenstein. January 2004/ http://www.sensesofcinema.com/contents/directors/04/eisenstein.html#2
13. Sergei Eisenstein, Film Form: Essays in Film Theory, edited and translated by Jay Leyda, New York, Harcourt Brace, 1949, p. 153.
14. Quoted in Peter Wollen, Signs and Meaning in the Cinema, Bloomington, Indiana University Press, 1972, p. 41.
15. Dan Shaw. Sergei Eisenstein. January 2004/...
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