{[ promptMessage ]}

Bookmark it

{[ promptMessage ]}

Take Home Quiz - Christopher Webb CMCL 401 Senior Seminar...

Info iconThis preview shows pages 1–3. Sign up to view the full content.

View Full Document Right Arrow Icon
Christopher Webb CMCL 401: Senior Seminar Professor Malitsky November 15, 2011 Distinguishing Eisenstein’s film theory from the mid 1920’s and the later 1920s, it seem as though Eisenstein focused more on the integration of how to get his message out in mid 1920’s to focusing on technical and being artistic in his films in the late 1920’s. Eisenstein focused on “montage attraction” in the mid 1920’s the units of impression that combined into one whole, that could be used to introduce a new level of tension into the aesthetic experience which would produce [unprecedented levels] of emotional saturation. Also, from what I analyzed is that Eisenstein was fighting for a cause of Proletarian rights as oppose to late 1920’s fighting for filmmaker rights and artistic mobility. Eisenstein views went from being a voice in a social revolution to almost one in film that saw Eisenstein break away from the “Industry” and commercialism to avant-garde like films. Eisenstein wanted to spark some sort of realism and by doing that he wanted to real live, real events that was historic In Russia’s history and dramatizing it in his films. Eisenstein was seeking an heroic realism in his films in the mid 1920’s as oppose to his movies like “October” in the late 1920’s that presented two perspectives of both the bourgeoisie and the proletarian perspective depictions. Eisenstein in the mid 1920’s was “transitioning from theatre directing to filmmaking” as well as how “theatrical spectacle moves audiences”(115). Eisenstein in the mid 1920’s, from what I interpreted, wanted his messages to be polarizing to the fact the people will be able to take action and actually do something by seeing his films. Eisenstein films were “plotless” in the mid 1920’s as well as “treating characters as typical of larger political forces”(43) in which resonated psychologically with the audiences agenda of rebellion. Eisenstein agenda was to collectively attain some form of emotional and
Background image of page 1

Info iconThis preview has intentionally blurred sections. Sign up to view the full version.

View Full Document Right Arrow Icon
psychological resonance with people. Eisenstein was looking to “romanticize” the Russian revolution, as he played off of “revolutionary romanticism” by using “heroic realism”. Eisenstein wanted people to be emotionally attracted to his films as he believe it was the “only opportunity of perceiving the ideological aspect of what is being shown”(87), which means he wanted people to have a visually psychological or emotional experience. Eisenstein focused on the leaders or a hero’s sacrifices, as well of the fact that stunts and attraction is different when trying to get the attention of the audience. Eisenstein believe in the mid 1920’s that the reaction of the audience is the most important because it shows that they learned something and might be willing to take a lot from what they learned from the experience. Eisenstein was shooting for a symbolic hero,
Background image of page 2
Image of page 3
This is the end of the preview. Sign up to access the rest of the document.

{[ snackBarMessage ]}