comparison of strike (eisenstein 1925) and german expressionism

Learning OutcomesAt the end of the session, students• Must be able to describe the dominant characteristics

of Soviet Montage

• Should be able to describe the significance of characterisation, editing & mise-en-scene

• Should be able to draw comparison between SM & GE

• Could be able to discuss the contributions SM made to film as an art form

Comparing GE & SM

German Expressionism• SUBJECTIVE• Concerned with inner

reality as opposed to outer reality

• Heavy in symbolism• Entertainment

Soviet Montage• OBJECTIVE• The crowd / mass is the

hero as opposed to individuals

• Eclectic in terms of film styles– Documentary objectivism– Naturalism– Drama– Slapstick

• Propaganda – film is political act (dialectic)

Comparing GE & SM

German Expressionism• Presents the proletariat as

dehumanized / unnatural (Metropolis, Lang 1929)

Soviet Montage• Presents the proletariat as

natural (placed amongst trees / nature for meetings)

• Presents the bourgeoisie as unnatural (placed amongst pillars / artificial settings)

Expressionism in Soviet Montage

• Wheel – symbolic motif of revolutionary progress

• Example of use of the mise-en-scene to convey meaning

• Think opening sequence!

Questions

• Did Eisenstein neglect the impact of the mise-en-scene in favour of the cinematic energy and impact of editing?

• How does Eisenstein use the mise-en-scene and editing to highlight the differences between the classes?

• How successful do you think Eisenstein was in combining mass entertainment with revolutionary politics?

• How has Soviet cinema influenced subsequent filmmakers and film movements?

Discussion Points

Can you? – • Identify the general differences between GE

and SM?• Identify the similarities on a thematic level

and stylistic/formal level?