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THROUGH THEATER TO CINEMA
Sergi Eisenstein
Early 1920sThe Soviet cinemaTwo of its features
Primo: photo-fragments of nature are recordedSecundo: these fragments are combined in various waysThe shot (or frame) and montage
Photography: system of reproduction to fix real events and elements of actuality
Abstract formalism, with remnants of reality
Class-determined tendency An arbitrary cinematographic relation
to the object placed
The frame is much less independently workable than the word or the sound
Considering as material for the purpose of composition, the shot is more resistant than granite
Montage becomes the mightiest means for a really important creative remolding of nature
The minimum “distortable” fragment of nature is the shot; ingenuity in its combinations is montage
Not opposed to nor can they replace The problem of story
Cinema principles
His film career is said to have begun with his production of Ostrovsky’s play, Enough Simplicity in Every Sage, at the Proletcult Theatre (Moscow, March 1923). Not true: based solely on the fact that
this production contained a short comic film
True: based on the character of the production
The first sign of a cinema tendency: one showing events with the least distortion
Beginning 3 years earlier The Mexican (from Jack London’s
story) The play’s climax is the prize-fight Take place backstage
The bull-fight in Carmen First move: propose that the fight be
brought into view
Trailer
Full movie
Working in the Stanislavsky system In turn was used as a means to affect
the audience In the fight scene the audience was
excited directly Employed realistic, even textural
means - real fighting
His realization that he had struck new ore, an actual-materialistic element in theater
The tendency developed From illusionary acting movement Acrobatics
A gesture expands into gymnastics rage is expressed through a somersault exaltation through a salto-mortale lyricism on “the mast of death.”
“real doing” & “pictorial imagination” Tretiakov’s Gas Masks (1923-24) “on the shelf” October is pure “typage” The overwhelming passions The production of The Sage: the
stage was shaped like a circus arena The dialogue thus colliding, creating
new meanings and sometimes wordplays
“Cutting” increased in tempo Never became comical for comedy’s sake,
but stuck to its theme, sharpened by its scenic embodiment
A piece of film How neutral it remains Wise and wicked art of reediting the work of
others Esther Schub, the Vassiliyev brothers,
reworking ingeniously the films imported after the revolution
One montage tour de force of this sort, executed by Boitler Danton
2 tiny cuts reversed the entire significance of this scene
An “aroma” of montage in the new “left” cinema
Flaubert gave us one of the finest examples of cross-montage of dialogues
Madame Bovary The young man was explaining to the
young women that these irresistible attractions find their cause in some previous state of experience
Whose climax is reached through a continuation of this cross-cutting & word-play
“Chase tempos”
(1991) Trailer (2015) Trailer
Meyerhold had not yet worked out The actors on roller skates carried
themselves about: the stage, “piece of city”
The intersection of man and milieu The cubists The “urbanistic” paintings of Picasso
were of less importance here than the need to express the dynamics of the city – glimpses of facades, hands, legs, pillars, heads, domes
Special cubism of Gogol
Close-ups cut into views of a city A film element that tried to fit itself
into the stubborn stage Double & multiple exposure –
“superimposing” images of man onto images of buildings
“infantile malady of leftism” existing in these first steps of cinema
Potemkin Not by trickery or double-exposure or mechanical
intersection But by the general structure of the composition
In the theater, the impossibility of the mise-en-scѐne
Sculptural details seen through the frame of the cadre, or shot, transitions from shot to shot, appeared to be the logical way out for the threatened hypertrophy of the mise-en-scѐne
Born the concept of mise-en-cadre As the mise-en-scѐne is an interrelation of people
in action, so the mise-en-cadre is the pictorial composition of mutually dependent cadres (shots) in a montage sequence
Theater accessories in the midst of real factory plastics appeared ridiculous
Strike [1924-25] reflected our production of Gas Masks
Insist on an understanding of the mass as hero
No screen had ever before reflected an image of collective action
Deviation: natural & necessary Screen be first penetrated by the general
image, the collective united & propelled by one wish, “individuality within the collective”
1924 “Down with the story & the plot!” The story “an attack of individualism,”
returns in a fresh form, to its proper place
Lies the historical importance of the third half-decade of Soviet cinematography (1930-35)
The “story” film & the embroynes of the “plotless” film are calming down
Filmic diction, technique of the frame, theory of montage
Have another credit: traditions & methodology of literature
The cinema embodies the philosophy & ideology of the victorious proletariat
The new quality of literature Forward to the synthesis of all the
best done by our silent cinematography, towards today along the lines of story & Marxist-Leninist ideological analysis
The phase of socialist realism Typage: the Commedia dell’arte In audience conditioning