The glorious motherland next turns its sights to the creative arts, and looks to a pioneering genius...
In the
Movie Director category
SERGEI EISENSTEIN
Sergei Mikhailovich Eisenstein (
Russian: Сергей Михайлович Эйзенштейн
Sergej Mihajlovič Ejzenštejn; January 23, 1898 – February 11, 1948) was a pioneering
Soviet Russian film director and
film theorist, often considered to be the "Father of Montage." He is noted in particular for his
silent films Strike (1924),
Battleship Potemkin (1925) and
October (1927), as well as the
historical epics Alexander Nevsky (1938) and
Ivan the Terrible (1944, 1958). His work profoundly influenced early filmmakers owing to his innovative use of and writings about
montage.
Eisenstein was a pioneer in the use of
montage, a specific use of
film editing. He and his contemporary,
Lev Kuleshov, two of the earliest film theorists, argued that montage was the essence of the cinema. His articles and books — particularly
Film Form and
The Film Sense — explain the significance of montage in detail.
His writings and films have continued to have a major impact on subsequent filmmakers. Eisenstein believed that editing could be used for more than just expounding a scene or moment, through a "linkage" of related images. Eisenstein felt the "collision" of shots could be used to manipulate the emotions of the audience and create film metaphors. He believed that an idea should be derived from the juxtaposition of two independent shots, bringing an element of collage into film. He developed what he called "methods of montage":
- Metric[58]
- Rhythmic[59]
- Tonal[60]
- Overtonal[61]
- Intellectual[62]
Eisenstein taught film making during his career at GIK where he wrote the curricula for the directors' course,
[63] his classroom illustrations are reproduced in Vladimir Nizhniĭ's
Lessons with Eisenstein. Exercises and examples for students were based on rendering literature such as
Honoré de Balzac's
Le Père Goriot.[64] Another hypothetical was the staging of the
Haitian struggle for independence as depicted in Anatolii Vinogradov's
The Black Consul,[65] influenced as well by John Vandercook's
Black Majesty.[66] Lessons from this scenario delved into the character of
Jean-Jacques Dessalines, replaying his movements, actions and the drama surrounding him. Further to the didactics of literary and dramatic content, Eisenstein taught the technicalities of directing, photography, and editing; while encouraging his students' development of individuality, expressiveness, and creativity.
[67] Eisenstein's pedagogy, like his films, were politically charged and contained quotes from
Vladimir Lenin interwoven with his teaching.
[68]
In his initial films, Eisenstein did not use professional actors. His narratives eschewed individual characters and addressed broad social issues, especially
class conflict. He used stock characters, and the roles were filled with untrained people from the appropriate classes; he avoided casting
stars.
[69] Eisenstein's vision of
communism brought him into conflict with officials in the ruling regime of
Joseph Stalin. Like many
Bolshevik artists, Eisenstein envisioned a new society which would subsidize artists totally, freeing them from the confines of bosses and budgets, leaving them absolutely free to create, but budgets and producers were as significant to the Soviet film industry as the rest of the world. The fledgling war- and revolution-wracked and isolated new nation did not have the resources to nationalize its film industry at first. When it did, limited resources — both monetary and equipment — required production controls as extensive as in the capitalist world.