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?