comparison of strike (eisenstein 1925) and german expressionism
DESCRIPTION
Comparison of Strike (Eisenstein 1925) and German ExpressionismTRANSCRIPT
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?