Note
1. In 1922, Eisenstein published his first programmatic aesthetic manifesto, "The Sideshow Montage," in the magazine "Left-wing Art Front", which caused a long-term debate and had a profound impact on the development of the entire film art. Eisenstein turned to the film industry in 1924, and the director's first film "Strike" (1925) was regarded by "Pravda" as "the first truly proletarian film" and was hailed as "the first film in history". A classic silent blockbuster, he replaced the general "plot" in previous films with "vaudeville montages", crowd scenes, genre actors, location shooting, individual protagonists, star performances and sets, reflecting his documentary style.
2.. The film takes the group of workers as the protagonist, and has an epic style. The technique of montage is quite mature in this film, but it has not yet reached the level of deliberateness in "Battleship of Potemkin". The narrative of the film is weak, but many scenes have The artistic conception of a musical.
3. The transition of the picture is the same as Griffith's "The Birth of a Nation" and "Party Diversity", using the method of superimposition or hard cutting
4. The composition of the picture is much more regular than that of Griffith. There are no corners and corners like Griffith, but also began to pay attention to some symmetry and other methods to enhance the stability
of the picture 5. Some important pictures and shots: 2:15~2:24 silhouette shots
2:27~2:40 Use the reflection on the water surface
5:08~6:10 Make a phone call, showing the collusion between the capitalists and the government, revealing the darkness of the society and the corruption of the government
6:11~11:22 Using animals to directly convert to The spies vividly showed their identities and characters, and at the same time scolded them for behaving like animals.
13:56~14:16 First describe going to the toilet with a panoramic or long-range view, and then repeat it with a medium and close -up view.
31:45~32:20 The rising smoke and the spinning wheels mean that the workers’ resistance is in full swing. In progress, the juggling montage
32:30~32:56 The pictures of animals appearing in stark contrast with the previous pictures of factories, which means the degradation of industrial civilization to agricultural civilization? (Personal opinion)
33:50~34:00 Children imitate adults, the deer is the foreman, implying that those who submit to capitalism and persecute the proletariat are beasts
41:02~44:26 Mutation in music, workers and factories The narrative of the two sides of the main story is parallel and crossed. There is a strong contrast between the leisure of the factory owner and the danger of the workers. The squeeze of the fruit by the factory owner symbolizes the squeeze of the workers, and the disdain of the factory owner to the fruit is even more provocative. The hatred of capitalism
44:44~45:06 Same as above, first tell the story through a long-range or panoramic view, and then tell it again with a medium and close-up view
46:35~49:49 The third part, compared with the second part, the workers Without a job, they have no income, their livelihood is difficult to maintain, and the class conflict is further
intensified
73:25~74:02 The cross montage creates a tense atmosphere.
83:54~83:57 The cat represents the horse, and the doll symbolizes the policeman on horseback, which means that they are manipulated like dolls. A scene expressed through the hands of the child is even more cruel
. 86:52 ~ The end of the film uses time and space to interlace, splicing the slaughtered workers and the slaughtered cattle. The strong contrast not only makes people feel pity for the workers It also exposes the brutality of the bourgeoisie, and the last corpse picture nakedly presents the tragedy of the workers in front of us, which not only arouses our thinking about the labor movement, but also conveys to us the proletarian workers Their sacrifices and contributions for our beautiful life, their spirits are worth remembering . 1. This is the first Eisenstein movie I watched, and Eisenstein was mentioned in many professional books before
.
I personally think that Eisenstein's montage theory is more complex and complex than Pudovkin and others. His theory is not only in politics and art, but also includes literature and drama, and extends to the whole sociology and anthropology.
2. Eisenstein's montage theory is based on the systematic classical editing method created by Griffith and an innovative theory on the basis of Pudovkin's theory. His theory is different from the picture effect created by the "stacking" between shots of Kulyshov and Pudovkin, but the new picture meaning created by the "conflict" between shots. There is a dialectical relationship between the pictures
3. In 1925, during Stalin's reign, movies were used as a tool to promote political ideas and consciousness. Eisenstein skillfully integrated personal political and artistic ideas into his films. "Strike" was his first attempt, "Strike" This film is about the outbreak of the contradiction between the proletariat and the bourgeoisie, and the proletariat is brutally persecuted by the bourgeoisie. In this film, Eisenstein preaches to us the greatness of the proletariat and strives to show that the collective is greater than It is hard to imagine how the film school at that time was under so much pressure from Stalin.
4. Juggling montages. The concept given by vaudeville Eisenstein is "any expansive element of vaudeville comedy, any such element, which can infect the audience emotionally or psychologically . In turn, it is the ideological aspect that exclusively determines the audience's acceptance of the performance, that is, the possibility of the final ideological conclusion." I was still a little confused when I saw this concept, although I could understand what he meant, but But I don't know how he transformed conceptual things into movie images. Later, I understood after seeing examples in the movie, but at the same time, new questions were raised. Why is juggling montage so similar to metaphor montage? After a bit of understanding, it is roughly that juggling montage would rather sacrifice the rationality and continuity of the picture and the degree of connection with the narrative content to show a shocking and strong effect. It hopes that the audience can accept the content expressed by the director , it hopes that most people can understand it, with a missionary meaning, and pays more attention to the form; while the metaphor montage is to cooperate with the narrative, focusing on the analogy between the camera and the camera, and intends to expand the expressiveness and appeal of the picture. It expresses the author's thoughts implicitly, and he only hopes that a few people can understand it. It is more artistic and individual, and pays more attention to the content.
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